Festival Daily 31. Sarajevo Film Festival 03

NEDJELJA / SUNDAY 17. 08. 2025. www.sff.ba Počasno Srce Sarajeva za Stellana Skarsgårda Honorary Heart of Sarajevo for Stellan Skarsgård 41 SADRŽAJ 27 34 42 45 45 TAKMIČARSKI PROGRAM - STUDENTSKI FILM:  Asja Krsmanović, selektorica COMPETITION documentary: LESIA DIAK I Had False Hope It Would Be Better 6 COMPETITION FEATURE World Premiere of "Otter" COMPETITION PROGRAMME - FEATURE FILM:  KUKLA, Mirror to the Surrounding World 8 Cineplexx's state-of-the-art Barco projectors deliver impeccable screenings at the 31st Sarajevo Film Festival Najsavremeniji Cineplexxovi Barco projektori omoguĆit Će besprijekorne projekcije na 31. Sarajevo Film Festivalu FOTO GALERIJA: CRVENI TEPIH COMPETITION FEATURE European Premiere of Family Therapy 49 CONTENT COMPETITION PROGRAMME- DOCUMENTARY FILM: ARSEN OREMOVIĆ, Bring a chair out to the porch 9 11 TAKMIČARSKI PROGRAM- DOKUMENTARNI FILM: IMAM HASANOV, Svemir sluša dok sanjamo NA PROGRAMU DANAS... 15 TAKMIČARSKI PROGRAM - IGRANI FILM: KUKLA Odraz svijeta koji nas okružuje 4 TAKMIČARSKI PROGRAM- DOKUMENTARNI FILM: ARSEN OREMOVIĆ, Iznesite stolicu na verandu 8 10 TAKMIČARSKI IGRANI Europska premijera filma „Obiteljska terapija“ COMPETITION PROGRAMME- DOCUMENTARY FILM: IMAM HASANOV, The universe listens when you dream Honorrary Heart of Sarajevo Christof Papousek: I Have a Heart for Sarajevo 48 COMPETITION PROGRAMME - FEATURE FILM:  STEFAN ĐORĐEVIĆ, A Film About Death That Brings Joy 47 10 GRAND COFFE WITH...Pavillion Every Resemblance to Events in the Balkans Is Intentional l GRAND KAFA SA...Paviljon Svaka sličnost i podudarnost s događajima na Balkanu je namjerna 9 PHOTo GALLERY: RED CARPET 43 21 TAKMIČARSKI IGRANI Svjetska premijera filma "Vidra“ 24 13 30 TAKMIČARSKI PROGRAM - IGRANI FILM: Stefan Đorđević Film o smrti koji donosi radost Vjetre, pričaj sa mnom COMPETITION PROGRAMME - sTUDENT FILM:  Asja Krsmanović, Programmer NA PROGRAMU DANAS... TAKMIČARSKI DOKUMENTARNI: LESIA DIAK Imala sam lažnu nadu da će biti bolje 18 FOTO GALERIJA: FESTIVALSKI ŽIVOT PHOTO GALLERY: FESTIVAL LIFE 41 49 NA PROGRAMU DANAS... ON TODAYS SCHEDULE... POČASNO SRCE SARAJEVA Christof Papousek: „I ja imam srce za Sarajevo 37 Stellanu Skarsgårdu uručeno Počasno Srce Sarajeva Glumcu Stellanu Skarsgårdu, kao priznanje za izuzetan doprinos filmskoj industriji i izuzetnu glumačku karijeru, u Ljetnom kinu Coca-Cola, uručeno je Počasno Srce Sarajeva. “Ovo je više nego što sam očekivao. I ovo je sjajno kino. Bio sam ovdje prije 16 godina, po mom sinu, koji je tada bio beba, vidim koliko brzo vrijeme prolazi. Ovo je više nego što sam se nadao. I ovo je nevjerovatan kino. Dobiti ovakvu nagrade je kao oproštaj i zlatni sat od kompanije, koji kaže da ste dobro radili, ali ste završili, zbogom. Ali ja to vidim kao novi početak", rekao je Stellan Skarsgård. Počasno Srce Sarajeva Skarsgårdu je uručio Mirsad Purivatra, predsjednik Obala Art Centar, osnivača i organizatora Sarajevo Film Festivala. “Večeras smo u Sarajevu ponovo ugostili jednog od velikih glumaca našeg vremena i istinskog prijatelja ovog Festivala. Stellan Skarsgård prvi put je bio sa nama 2009. godine, kada je govorio o svojoj ljubavi prema Sarajevu i Festivalu koji, prema njegovim riječima, ostaje nepokolebljiv u svom cilju da istakne teme od velikog značaja, podcrtane intenzivnom žudnjom za životom. U ime Sarajevo Film Festivala, kao priznanje za izuzetan doprinos kinematografiji i trajno prijateljstvo sa Festivalom i gradom, čast mi je uručiti Počasno Srce Sarajeva Stellanu Skarsgårdu”, rekao je Mirsad Purivatra. Skarsgård je počeo glumiti u dobi od petnaest godina u švedskoj TV seriji „Bombi Bitt i ja“. Nakon ovog početnog uspjeha, nastavio je intenzivno raditi s prestižnim Kraljevskim dramskim pozorištem u Stockholmu, a istovremeno se pojavljivao u nizu švedskih filmova. Njegov međunarodni proboj stigao je 1982. godine s „The Simple-Minded Murderer“ reditelja Hansa Alfredsona, za koji je Skarsgård osvojio Srebrnog medvjeda za najboljeg glumca na Berlinaleu. Nastavio je da radi sa drugim cijenjenim skandinavskim rediteljima kao što su Bo Widerberg i Kjell Grede. Njegova prva značajna holivudska uloga bila je 1990. godine, kada je glumio kapetana ruske podmornice u filmu „Lov na crveni oktobar“. To je označilo početak plodnog međunarodnog perioda, uključujući „Zero Kelvin“ (1995.), njegov prvi od mnogih filmova sa norveškim rediteljem Hansom Petterom Molandom, i „Lomeći valove“ (1996.), koji je pokrenuo njegovu dugogodišnju saradnju sa danskim autorom Larsom von Trierom. Potonji film osvojio je Veliku nagradu žirija u Cannesu i donio Skarsgårdu široko priznanje. Kasnije se pojavio u von Trierovim filmovima „Dogville“, „Melanholija“ i „Nimfomanka“. Skarsgård je od tada radio sa nizom utjecajnih filmskih stvaralaca, uključujući Gusa Van Santa („Dobri Will Hunting“), Stevena Spielberga („Amistad“), Johna Frankenheimera („Ronin“), Paula Schradera („Egzorcist: Vladavina“), Davida Finchera („Muškarci koji mrze žene“) i Miloša Formana („Goyini duhovi“). Ušao je u svijet blockbustera kao Bootstrap Bill Turner u prva dva filma iz serijala „Pirati s Kariba“ i očarao globalnu publiku u filmu „Mamma Mia!“ i njegovom nastavku. Pridružio se Marvelovom filmskom univerzumu kao fizičar Erik Selvig u filmu „Thor“ i reprizirao ulogu u četiri dodatna naslova MCU-a. Na televiziji, Skarsgård je 2015. godine glumio u dirljivoj BBC-ijevoj seriji „River“ Abi Morgan. Zatim je dobio nominaciju za Emmy i Zlatni globus za svoj nezaboravni nastup u HBO-ovom „Černobilu“. U 2020-im, nastavlja balansirati prestižni i popularni rad sa glasovnom ulogom u „Simpsonima“, jednom od glavnih uloga u filmovima Denisa Villeneuvea „Dina“ te hvaljenim izvedbama u seriji „Andor“ (Ratovi zvijezda) i filmu „Sentimentalna vrijednost“ (Sentimental Value), dobitniku Grand Prixa na filmskom festivalu u Cannesu 2025. Glumcu Stellanu Skarsgårdu, kao priznanje za izuzetan doprinos filmskoj industriji i izuzetnu glumačku karijeru, u Ljetnom kinu Coca-Cola, uručeno je Počasno Srce Sarajeva. “Ovo je više nego što sam očekivao. I ovo je sjajno kino. Bio sam ovdje prije 16 godina, po mom sinu, koji je tada bio beba, vidim koliko brzo vrijeme prolazi. Ovo je više nego što sam se nadao. I ovo je nevjerovatan kino. Dobiti ovakvu nagrade je kao oproštaj i zlatni sat od kompanije, koji kaže da ste dobro radili, ali ste završili, zbogom. Ali ja to vidim kao novi početak", rekao je Stellan Skarsgård. Počasno Srce Sarajeva Skarsgårdu je uručio Mirsad Purivatra, predsjednik Obala Art Centar, osnivača i organizatora Sarajevo Film Festivala. “Večeras smo u Sarajevu ponovo ugostili jednog od velikih glumaca našeg vremena i istinskog prijatelja ovog Festivala. Stellan Skarsgård prvi put je bio sa nama 2009. godine, kada je govorio o svojoj ljubavi prema Sarajevu i Festivalu koji, prema njegovim riječima, ostaje nepokolebljiv u svom cilju da istakne teme od velikog značaja, podcrtane intenzivnom žudnjom za životom. U ime Sarajevo Film Festivala, kao priznanje za izuzetan doprinos kinematografiji i trajno prijateljstvo sa Festivalom i gradom, čast mi je uručiti Počasno Srce Sarajeva Stellanu Skarsgårdu”, rekao je Mirsad Purivatra. Skarsgård je počeo glumiti u dobi od petnaest godina u švedskoj TV seriji „Bombi Bitt i ja“. Nakon ovog početnog uspjeha, nastavio je intenzivno raditi s prestižnim Kraljevskim dramskim pozorištem u Stockholmu, a istovremeno se pojavljivao u nizu švedskih filmova. Njegov međunarodni proboj stigao je 1982. godine s „The Simple-Minded Murderer“ reditelja Hansa Alfredsona, za koji je Skarsgård osvojio Srebrnog medvjeda za najboljeg glumca na Berlinaleu. Nastavio je da radi sa drugim cijenjenim skandinavskim rediteljima kao što su Bo Widerberg i Kjell Grede. Njegova prva značajna holivudska uloga bila je 1990. godine, kada je glumio kapetana ruske podmornice u filmu „Lov na crveni oktobar“. To je označilo početak plodnog međunarodnog perioda, uključujući „Zero Kelvin“ (1995.), njegov prvi od mnogih filmova sa norveškim rediteljem Hansom Petterom Molandom, i „Lomeći valove“ (1996.), koji je pokrenuo njegovu dugogodišnju saradnju sa danskim autorom Larsom von Trierom. Potonji film osvojio je Veliku nagradu žirija u Cannesu i donio Skarsgårdu široko priznanje. Kasnije se pojavio u von Trierovim filmovima „Dogville“, „Melanholija“ i „Nimfomanka“. Skarsgård je od tada radio sa nizom utjecajnih filmskih stvaralaca, uključujući Gusa Van Santa („Dobri Will Hunting“), Stevena Spielberga („Amistad“), Johna Frankenheimera („Ronin“), Paula Schradera („Egzorcist: Vladavina“), Davida Finchera („Muškarci koji mrze žene“) i Miloša Formana („Goyini duhovi“). Ušao je u svijet blockbustera kao Bootstrap Bill Turner u prva dva filma iz serijala „Pirati s Kariba“ i očarao globalnu publiku u filmu „Mamma Mia!“ i njegovom nastavku. Pridružio se Marvelovom filmskom univerzumu kao fizičar Erik Selvig u filmu „Thor“ i reprizirao ulogu u četiri dodatna naslova MCU-a. Na televiziji, Skarsgård je 2015. godine glumio u dirljivoj BBC-ijevoj seriji „River“ Abi Morgan. Zatim je dobio nominaciju za Emmy i Zlatni globus za svoj nezaboravni nastup u HBO-ovom „Černobilu“. U 2020-im, nastavlja balansirati prestižni i popularni rad sa glasovnom ulogom u „Simpsonima“, jednom od glavnih uloga u filmovima Denisa Villeneuvea „Dina“ te hvaljenim izvedbama u seriji „Andor“ (Ratovi zvijezda) i filmu „Sentimentalna vrijednost“ (Sentimental Value), dobitniku Grand Prixa na filmskom festivalu u Cannesu 2025. Počasno Srce Sarajeva Skarsgårdu je uručio Mirsad Purivatra, predsjednik Obala Art Centar, osnivača i organizatora Sarajevo Film Festivala. POČASNO SRCE SARAJEVA Honorary Heart  of Sarajevo The Honorary Heart of Sarajevo was presented to Skarsgård by the Mirsad Purivatra, president of Obala Art Centar, founder and organizer of the Sarajevo Film Festival. Actor Stellan Skarsgård was awarded the Honorary Heart of Sarajevo at the Coca-Cola Open Air Cinema in recognition of his outstanding contribution to the film industry and his outstanding acting career. „This is more than I hoped for. And this is an amazing cinema. Sixteen years ago I was here last time. And I can see it on my son who was only a baby at that time, I can see how time has passed. Getting these kinds of awards is kind of like a farewell and a golden watch from you, from the company, saying that you've done well, you're finished, goodbye. But I see it as a new start“, said Stellan Skarsgård. The Honorary Heart of Sarajevo was presented to Skarsgård by the Mirsad Purivatra, president of Obala Art Centar, founder and organizer of the Sarajevo Film Festival. “Tonight we welcome back to Sarajevo one of the great actors of our time and a true friend of this Festival. Stellan Skarsgård first joined us in 2009, when he spoke of his love for Sarajevo and the Festival that in his words remains unwavering in its aim to highlight subjects of great consequence underscored by the intense lust for life. On behalf of the Sarajevo Film Festival, in recognition of his remarkable contribution to cinema and his lasting frienship with the Festival and the city, it is my honor to present the Honorary Heart of Sarajevo to Stellan Skarsgård”, said Mirsad Purivatra. Skarsgård began acting at the age of fifteen in the Swedish TV series "Bombi Bitt" and "I". Following this initial success, he went on to work extensively with the prestigious Royal Dramatic Theatre of Stockholm while also appearing in a range of Swedish films. His international breakthrough came in 1982 with Hans Alfredson’s "The Simple-Minded Murderer", for which Skarsgård won the Berlinale Silver Bear for Best Actor. He went on to work with other treasured Scandinavian directors such as Bo Widerberg and Kjell Grede. His first significant Hollywood role came in 1990 when he portrayed a Russian submarine captain in "The Hunt for Red October". This marked the beginning of a prolific international period, including "Zero Kelvin" (1995), his first of many films with Norwegian director Hans Petter Moland, and "Breaking the Waves" (1996), which launched his long-running collaboration with Danish auteur Lars von Trier. The latter film won the Grand Jury Prize at Cannes and brought Skarsgård widespread recognition. He later appeared in von Trier’s "Dogville", "Melancholia", and "Nymphomaniac". Skarsgård has since worked with an array of influential filmmakers, including Gus Van Sant ("Good Will Hunting"), Steven Spielberg ("Amistad"), John Frankenheimer ("Ronin"), Paul Schrader ("The Exorcist: Dominion"), David Fincher ("The Girl with the Dragon Tattoo"), and Miloš Forman ("Goya’s Ghosts"). He entered the blockbuster realm as Bootstrap Bill Turner in two "Pirates of the Caribbean" films and charmed global audiences in "Mamma Mia!" and its sequel. He joined the Marvel Cinematic Universe as physicist Erik Selvig in "Thor" and reprised the role in four additional MCU titles. On television, in 2015 Skarsgård starred in the poignant BBC series "River by Abi Morgan". He then went on to receive an Emmy nomination and a Golden Globe win for his haunting performance in HBO’s "Chernobyl". In the 2020s, he continues to balance prestige and popular work with a voice cameo in The Simpsons, a leading role in Denis Villeneuve’s "Dune" films and acclaimed turns in Andor ("Star Wars") and the Cannes 2025 Grand Prix winner "Sentimental Value". vo at the Coca-Cola Open Air Cinema in recognition of his outstanding contribution to the film industry and his outstanding acting career. „This is more than I hoped for. And this is an amazing cinema. Sixteen years ago I was here last time. And I can see it on my son who was only a baby at that time, I can see how time has passed. Getting these kinds of awards is kind of like a farewell and a golden watch from you, from the company, saying that you've done well, you're finished, goodbye. But I see it as a new start“, said Stellan Skarsgård. The Honorary Heart of Sarajevo was presented to Skarsgård by the Mirsad Purivatra, president of Obala Art Centar, founder and organizer of the Sarajevo Film Festival. “Tonight we welcome back to Sarajevo one of the great actors of our time and a true friend of this Festival. Stellan Skarsgård first joined us in 2009, when he spoke of his love for Sarajevo and the Festival that in his words remains unwavering in its aim to highlight subjects of great consequence underscored by the intense lust for life. On behalf of the Sarajevo Film Festival, in recognition of his remarkable contribution to cinema and his lasting frienship with the Festival and the city, it is my honor to present the Honorary Heart of Sarajevo to Stellan Skarsgård”, said Mirsad Purivatra. Skarsgård began acting at the age of fifteen in the Swedish TV series Bombi Bitt and I. Following this initial success, he went on to work extensively with the prestigious Royal Dramatic Theatre of Stockholm while also appearing in a range of Swedish films. His international breakthrough came in 1982 with Hans Alfredson’s The Simple-Minded Murderer, for which Skarsgård won the Berlinale Silver Bear for Best Actor. He went on to work with other treasured Scandinavian directors such as Bo Widerberg and Kjell Grede. His first significant Hollywood role came in 1990 when he portrayed a Russian submarine captain in The Hunt for Red October. This marked the beginning of a prolific international period, including Zero Kelvin (1995), his first of many films with Norwegian director Hans Petter Moland, and Breaking the Waves (1996), which launched his long-running collaboration with Danish auteur Lars von Trier. The latter film won the Grand Jury Prize at Cannes and brought Skarsgård widespread recognition. He later appeared in von Trier’s Dogville, Melancholia, and Nymphomaniac. Skarsgård has since worked with an array of influential filmmakers, including Gus Van Sant (Good Will Hunting), Steven Spielberg (Amistad), John Frankenheimer (Ronin), Paul Schrader (The Exorcist: Dominion), David Fincher (The Girl with the Dragon Tattoo), and Miloš Forman (Goya’s Ghosts). He entered the blockbuster realm as Bootstrap Bill Turner in two Pirates of the Caribbean films and charmed global audiences in Mamma Mia! and its sequel. He joined the Marvel Cinematic Universe as physicist Erik Selvig in Thor and reprised the role in four additional MCU titles. On television, in 2015 Skarsgård starred in the poignant BBC series River by Abi Morgan. He then went on to receive an Emmy nomination and a Golden Globe win for his haunting performance in HBO’s Chernobyl. In the 2020s, he continues to balance prestige and popular work with a voice cameo in The Simpsons, a leading role in Denis Villeneuve’s Dune films and acclaimed turns in Andor (Star Wars) and the Cannes 2025 Grand Prix winner Sentimental Value. Stellan Skarsgård received the Honorary Heart of Sarajevo Srđan Vuletić: Young Generations Are Much Better Than I Thought Cineplexx’s state-of-the-art Barco projectors deliver impeccable screenings at the 31st Sarajevo Film Festival The 31st Sarajevo Film Festival opened with the world premiere of the film „The Pavilion“ by Dino Mustafić Introducing the Kinoscope Programme of the 31st Sarajevo Film Festival Main Sponsors Stellan Skarsgård received the Honorary Heart of Sarajevo Svjetska  premijera filma „Vidra“ World  Premiere of the Film OTTER Takmičarski igrani • Competition Feature Hana is a shy sixteen-year-old girl, secretly in love with a schoolmate from the local duo Luka & Balsha known from social media. The next morning Hana loses her father. While the family argues about what a "proper" funeral looks like, Hana faces her mother’s inability to resist the demands of men. Disappointed and confused, Hana runs away to the lake. There a new disappointment awaits her. Director: Srđan Vuletić Cast: Maša Drašler, Savin Perišić, Pavle Marković, Nada Vukčević, Marko Janketić Hana je stidljiva šesnaestogodišnja djevojka, potajno zaljubljena u školskog druga iz lokalnog dua Luka & Balša, poznatog s društvenih mreža. Sljedećeg jutra Hana gubi oca. Dok se porodica raspravlja o tome kako treba da izgleda „prava“ sahrana, Hana se suočava s majčinom nesposobnošću da se odupre zahtjevima muškaraca. Razočarana i zbunjena, Hana bježi na jezero. Tamo je čeka novo razočarenje. Režija: Srđan Vuletić Uloge: Maša Drašler, Savin Perišić, Pavle Marković, Nada Vukčević, Marko Janketić Crveni tepih / Red Carpet Ekipa filma "Radio Rambo Amadeus" CREW: Radio Rambo Amadeus Ekipa filma "Najglasnija tišina"/ CREW: THE LOUDEST SILENCE Aleksandar Reljić, reditelj filma "Najglasnija tišina" / Aleksandar Reljić, director of THE LOUDEST SILENCE  Ekipa filma „Vidra“ / CREW: Otter Više fotografija možete pronaći OVDJE. More festival photos you can find HERE. Srđan Vuletić, reditelj filma „Vidra“ / Srđan Vuletić, director of OTTER Elma Tataragić, selektorica takmičarskog programa igrani film i Želimir Žilnik, reditelj Ekipa filma "Izbor za miss zatvora"  CREW: Prison Beauty Contest Pjevač Rambo Amadeus / Singer Rambo Amadeus Radost razgovora  s vjetrom „Vjetre, pričaj sa mnom“ iznosi vašu osobnu i zaista emotivnu priču o nošenju s gubitkom majke. U kojem trenutku ste odlučili da ste spremni baviti se tako teškom temom? Znao sam da sam spreman napraviti film o mojoj majci Neci onda kada sam prestao da gledam na njen odlazak kao na tešku temu. Moja majka je voljela život više nego bilo ko drugi, i kakav bi njen učenik bio da razmišljam više o njenoj smrti, nego o njenom životu. Kada pomislim na nju hoću da se radujem, da mi izmami osmijeh, da nikada ne ode, pa i ako suze poteku, čovjek može samo više da voli poslije njih. Kada ste odlučili da će u filmu uz vas glumiti i vaša obitelj? Tokom posljednjeg ljeta moje majke, snimili smo prizore koji su mi se duboko urezali. Samo snimanje je otvorilo teme između nas dvoje o kojima nikada prije nismo razgovarali. Povjerila mi se kako priča sa vjetrom. Gledajući kasnije njen sjaj u očima dok priča o vjetru, pomislio sam kako je to ono šta Necu čini posebnom i jedinstvenom, i kako niko ne može da odigra ili zamijeni to. Ta pomisao je inicirala želju za stvarnošću, jer su odnos sa porodicom i okruženje u kojem je Neca odrasla učinile nju jedinstvenom, baš onako kako je i ona uticala na sve nas. Otud je i proistekla želja svih članova porodice da joj posvete „Vjetar“, jer iako nije bilo nimalo jednostavno otvoriti se ispred kamere, ona je iz ljubavi prema nama radila mnogo teže stvari. Koliko vam je brat Boško Đorđević, koji je potpisan kao saradnik na scenariju, pomogao u stvaranju filma? Boško je također filmski autor i on je jedini od članova porodice koji poznaje strukturu i formu filma. Njegovo mišljenje izuzetno cijenim i bez njegove predanosti „Vjetar“ ne bi bio ono što jeste, film o porodici. Scenarij je sačinjen od sjećanja i uspomena iz vremena poslije Necine smrti, koje smo onda rekonstruirali na samom snimanju, i ono što je Boško donio kao autor na snimanju je prisutnost, stvaranje jedinstvenog trenutka u vremenu, ali ne na filmski način, već kao dio života. Najbolje je razumio kompleksnost forme i napisao je scene za sebe, baš onako kako ih je i Neca napisala za sebe. Koliko vam je rad na ovom filmu pomogao pri nošenju s majčinom smrću? Svaki dio procesa kreiranja „Vjetra“ imao je svojih izazova, koje nikako ne bih prebrodio da nisam imao posvećene ljude oko sebe. I ovdje ne mislim samo na porodicu ispred kamere, već i na onu iza kamere. Dragana Jovović, producentica filma, takođe je izgubila jednog od roditelja i bez njenog razumijevanja i poznavanja kompleksnosti teme, ali prije svega bez njene podrške, ne bih izgurao ovaj film do kraja. Dosta članova ekipe je rano izgubilo nekoga bliskog i svi su imali svoju vrstu motivacije da rade na projektu koji se suočava sa smrću. Bavljenje životnim traumama je izuzetno važno, da li na kreativan ili ljudski način, ali kod svih nas koji smo radili na ovom filmu te dvije stvari su se isprepletale i osnažile naše odnose, ne samo međuljudske već i one prema svetu oko nas. Pas Lija u filmu je jedan od glavnih likova. Zašto vam je bilo važno u tu obiteljsku atmosferu unijeti motiv ozlijeđenog psa? Moja majka je svoje posljednje ljeto provela na Borskom jezeru, u maloj kamp kućici, okružena biljnim i životinjskim svijetom. Bilo joj je potrebno da bude u okruženju koje manifestuje prijatne vibracije kako bi uspjela da pobijedi bolest u sebi. Da bi razgovarala sa vjetrom, prvo je morala da ga čuje. U slijedu kompleksnosti ljudskih karakteristika i odnosa, ne pomislimo na njihove osnove i koliko zavisimo jedni od drugih. Koliko bez brige, ne postoji ljubav. Poslije majčine smrti osjećanje brige kao da je tokom noći prestalo da postoji i ogromna težina se sručila na moja ramena. Uveliko sam razmišljao kako želim da udomim psa, da ga spasim od nepredvidivog života na ulici, ali prije svega ja sam bio taj kome je trebala pomoć. U cijeloj toj skrhanosti i želji kolima sam udario psa na putu i zatim pokušao da mu pomognem, ali pas je pobjegao. Neposredno poslije toga sam udomio Liju i od tada Lija i ja smo nerazdvojni. 2010. godine glumili ste u filmu „Tilva Roš“, koji je tada osvojio Srce Sarajeva za najbolji film, 2018. godine bili ste dio Sarajevo Talents, a 2019. je kratki film „Poslednja slika o ocu“ koji ste režirali također dobio Srce Sarajeva. Kakav je osjećaj vratiti se na Festival sa debitantskim dugometražnim filmom? Sarajevo Film Festival je prvi filmski festival na kojem sam ikada bio i izuzetna mi je čast da je regionalna premijera filma na mjestu gdje je moja filmska priča i započela petnaest godina ranije. Sarajevo Film Festival njeguje i čuva autore iz regiona i osjećam se privilegovanim što je naš film dio ovogodišnjeg izdanja, ali ono što mi posebno znači je to da će cijela moja porodica gledati prvi put film sa publikom. I njima će ovo biti prvi filmski festival! I ko zna, možda neki novi filmski početak… Josip Jurčić „Vjetre, pričaj sa mnom“ iznosi vašu osobnu i zaista emotivnu priču o nošenju s gubitkom majke. U kojem trenutku ste odlučili da ste spremni baviti se tako teškom temom? Znao sam da sam spreman napraviti film o mojoj majci Neci onda kada sam prestao da gledam na njen odlazak kao na tešku temu. Moja majka je voljela život više nego bilo ko drugi, i kakav bi njen učenik bio da razmišljam više o njenoj smrti, nego o njenom životu. Kada pomislim na nju hoću da se radujem, da mi izmami osmijeh, da nikada ne ode, pa i ako suze poteku, čovjek može samo više da voli poslije njih. Kada ste odlučili da će u filmu uz vas glumiti i vaša obitelj? Tokom posljednjeg ljeta moje majke, snimili smo prizore koji su mi se duboko urezali. Samo snimanje je otvorilo teme između nas dvoje o kojima nikada prije nismo razgovarali. Povjerila mi se kako priča sa vjetrom. Gledajući kasnije njen sjaj u očima dok priča o vjetru, pomislio sam kako je to ono šta Necu čini posebnom i jedinstvenom, i kako niko ne može da odigra ili zamijeni to. Ta pomisao je inicirala želju za stvarnošću, jer su odnos sa porodicom i okruženje u kojem je Neca odrasla učinile nju jedinstvenom, baš onako kako je i ona uticala na sve nas. Otud je i proistekla želja svih članova porodice da joj posvete „Vjetar“, jer iako nije bilo nimalo jednostavno otvoriti se ispred kamere, ona je iz ljubavi prema nama radila mnogo teže stvari. Koliko vam je brat Boško Đorđević, koji je potpisan kao saradnik na scenariju, pomogao u stvaranju filma? Boško je također filmski autor i on je jedini od članova porodice koji poznaje strukturu i formu filma. Njegovo mišljenje izuzetno cijenim i bez njegove predanosti „Vjetar“ ne bi bio ono što jeste, film o porodici. Scenarij je sačinjen od sjećanja i uspomena iz vremena poslije Necine smrti, koje smo onda rekonstruirali na samom snimanju, i ono šta je Boško donio kao autor na snimanju je prisutnost, stvaranje jedinstvenog trenutka u vremenu, ali ne na filmski način već kao dio života. Najbolje je razumio kompleksnost forme i napisao je scene za sebe, baš onako kako ih je i Neca napisala za sebe. Koliko vam je rad na ovom filmu pomogao pri nošenju s majčinom smrću? Svaki dio procesa kreiranja „Vjetra“ imao je svojih izazova, koje nikako ne bih prebrodio da nisam imao posvećene ljude oko sebe. I ovdje ne mislim samo na porodicu ispred kamere, već i na onu iza kamere. Dragana Jovović, producentica filma, takođe je izgubila jednog od roditelja i bez njenog razumijevanja i poznavanja kompleksnosti teme, ali prije svega bez njene podrške, ne bih izgurao ovaj film do kraja. Dosta članova ekipe je rano izgubilo nekoga bliskog i svi su imali svoju vrstu motivacije da rade na projektu koji se suočava sa smrću. Bavljenje životnim traumama je izuzetno važno, da li na kreativan ili ljudski način, ali kod svih nas koji smo radili na ovom filmu te dvije stvari su se isprepletale i osnažile naše odnose, ne samo međuljudske već i one prema svetu oko nas. Pas Lija u filmu je jedan od glavnih likova. Zašto vam je bilo važno u tu obiteljsku atmosferu unijeti motiv ozlijeđenog psa? Moja majka je svoje posljednje ljeto provela na Borskom jezeru, u maloj kamp kućici, okružena biljnim i životinjskim svijetom. Bilo joj je potrebno da bude u okruženju koje manifestuje prijatne vibracije kako bi uspjela da pobijedi bolest u sebi. Da bi razgovarala sa vjetrom, prvo je morala da ga čuje. U slijedu kompleksnosti ljudskih karakteristika i odnosa, ne pomislimo na njihove osnove i koliko zavisimo jedni od drugih. Koliko bez brige, ne postoji ljubav. Poslije majčine smrti osjećanje brige kao da je tokom noći prestalo da postoji i ogromna težina se sručila na moja ramena. Uveliko sam razmišljao kako želim da udomim psa, da ga spasim od nepredvidivog života na ulici, ali prije svega ja sam bio taj kome je trebala pomoć. U cijeloj toj skrhanosti i želji kolima sam udario psa na putu i zatim pokušao da mu pomognem, ali pas je pobjegao. Neposredno posijle toga sam udomio Liju i od tada Lija i ja smo nerazdvojni. 2010. godine glumili ste u filmu „Tilva Roš“, koji je tada osvojio Srce Sarajeva za najbolji film, 2018. godine bili ste dio Sarajevo Talents, a 2019. je kratki film „Poslednja slika o ocu“ koji ste režirali također dobio Srce Sarajeva. Kakav je osjećaj vratiti se na Festival sa debitantskim dugometražnim filmom? Sarajevo Film Festival je prvi filmski festival na kojem sam ikada bio i izuzetna mi je čast da je regionalna premijera filma na mjestu gdje je moja filmska priča i započela petnaest godina ranije. Sarajevo Film Festival njeguje i čuva autore iz regiona i osjećam se privilegovanim što je naš film dio ovogodišnjeg izdanja, ali ono što mi posebno znači je to da će cijela moja porodica gledati prvi put film sa publikom. I njima će ovo biti prvi filmski festival! I ko zna, možda neki novi filmski početak… Josip Jurčić Takmičarski PROGRAM -igrani film Nakon smrti majke, reditelj Stefan Đorđević odlučio je uz pomoć cijele obitelji snimiti film „Vjetre, pričaj sa mnom“, u kojem fokus neće biti na tugovanju zbog njezinog odlaska, već veselju zbog njezinog života. Stefan Đorđević Vjetre, pričaj sa mnom Competition PROGRAMME - Feature FILM The Joy of Talking  with the Wind Wind, Talk to Me tells your personal and deeply emotional story of coping with the loss of your mother. At what point did you decide you were ready to tackle such a difficult subject? I knew I was ready to make a film about my mother, Neca, when I stopped seeing her passing as a heavy subject. My mother loved life more than anyone else, and what kind of student of hers would I be if I thought more about her death than her life? When I think of her, I want to feel joy, for her to make me smile, for her to never really leave. And even if tears fall, a person can only love more after them. When did you decide that your family would also act alongside you in the film? During the last summer of my mother’s life, we filmed scenes that left a deep impression on me. Just the act of filming opened up topics between the two of us that we had never discussed before. She confided in me about how she talks to the wind. Later, seeing the sparkle in her eyes as she spoke about the wind, I realized that this is what made Neca special and unique, and that no one could play or replace that. That thought sparked a desire for authenticity, because her relationship with our family and the environment in which Neca grew up made her truly one of a kind, just as she influenced all of us. From there came the desire of every family member to dedicate Wind to her, because, even though opening up in front of a camera was far from easy, she had done much harder things out of love for us. How much did your brother Boško Đorđević, credited as a collaborator on the script, help in creating the film? Boško is also a filmmaker, and he is the only member of our family familiar with the structure and form of a film. I deeply value his opinion, and without his dedication, Wind would not be what it is, a film about family. The script was composed of memories and recollections from the time after Neca’s passing, which we then reconstructed during filming. What Boško brought as a creator on set was presence, the ability to craft a unique moment in time, not in a cinematic way, but as part of life. He understood the complexity of the form best and wrote scenes for himself, just as Neca had written them for herself. How much did working on this film help you cope with your mother’s death? Every part of creating Wind came with its challenges, which I could never have overcome without having devoted people around me. And I don’t mean only the family in front of the camera, but also those behind it. Dragana Jovović, the film’s producer, had also lost a parent, and without her understanding and grasp of the topic’s complexity, but above all, without her support, I wouldn’t have been able to see this film through to the end. Many members of the crew had lost someone close at an early age, and each of them had their own motivation to work on a project that confronts death. Dealing with life’s traumas is extremely important, whether in a creative or a human way, and for all of us who worked on this film, these two aspects intertwined, strengthening not only our interpersonal relationships but also our connection to the world around us. Lija, the dog in the film, is one of the main characters. Why was it important for you to introduce the motif of an injured dog into this family atmosphere? My mother spent her last summer at Borsko Lake, in a small camper, surrounded by plants and animals. She needed to be in an environment that radiated positive energy in order to fight the illness within her. To be able to talk to the wind, she first had to hear it. In the complexity of human traits and relationships, we often don’t consider the basics—how much we depend on each other. Without care, there is no love. After my mother’s death, the sense of care seemed to vanish overnight, and an immense weight fell on my shoulders. I had long thought about adopting a dog, to save it from the unpredictability of life on the streets, but above all, I was the one who needed help. In a moment of fragility and distraction, I accidentally hit a dog with my car on the road and then tried to help it, but it ran away. Shortly after that, I adopted Lija, and ever since, Lija and I have been inseparable. In 2010, you acted in the film Tilva Roš, which went on to win the Heart of Sarajevo for Best Film. In 2018, you were part of Sarajevo Talents, and in 2019 your short film The Last Picture of Father also received the Heart of Sarajevo. How does it feel to return to the Festival with your debut feature film? The Sarajevo Film Festival was the first film festival I ever attended, and it is an extraordinary honor that the regional premiere of my film takes place where my cinematic journey began fifteen years ago. The Festival nurtures and supports filmmakers from the region, and I feel privileged that our film is part of this year’s edition. What makes it especially meaningful, however, is that my entire family will see the film with an audience for the first time. For them, this will be their first film festival! And who knows, perhaps it will mark the beginning of a new cinematic journey... Josip Jurčić Wind, Talk to Me tells your personal and deeply emotional story of coping with the loss of your mother. At what point did you decide you were ready to tackle such a difficult subject? I knew I was ready to make a film about my mother, Neca, when I stopped seeing her passing as a heavy subject. My mother loved life more than anyone else, and what kind of student of hers would I be if I thought more about her death than her life? When I think of her, I want to feel joy, for her to make me smile, for her to never really leave. And even if tears fall, a person can only love more after them. When did you decide that your family would also act alongside you in the film? During the last summer of my mother’s life, we filmed scenes that left a deep impression on me. Just the act of filming opened up topics between the two of us that we had never discussed before. She confided in me about how she talks to the wind. Later, seeing the sparkle in her eyes as she spoke about the wind, I realized that this is what made Neca special and unique, and that no one could play or replace that. That thought sparked a desire for authenticity, because her relationship with our family and the environment in which Neca grew up made her truly one of a kind, just as she influenced all of us. From there came the desire of every family member to dedicate Wind to her, because, even though opening up in front of a camera was far from easy, she had done much harder things out of love for us. How much did your brother Boško Đorđević, credited as a collaborator on the script, help in creating the film? Boško is also a filmmaker, and he is the only member of our family familiar with the structure and form of a film. I deeply value his opinion, and without his dedication, Wind would not be what it is, a film about family. The script was composed of memories and recollections from the time after Neca’s passing, which we then reconstructed during filming. What Boško brought as a creator on set was presence, the ability to craft a unique moment in time, not in a cinematic way, but as part of life. He understood the complexity of the form best and wrote scenes for himself, just as Neca had written them for herself. How much did working on this film help you cope with your mother’s death? Every part of creating Wind came with its challenges, which I could never have overcome without having devoted people around me. And I don’t mean only the family in front of the camera, but also those behind it. Dragana Jovović, the film’s producer, had also lost a parent, and without her understanding and grasp of the topic’s complexity, but above all, without her support, I wouldn’t have been able to see this film through to the end. Many members of the crew had lost someone close at an early age, and each of them had their own motivation to work on a project that confronts death. Dealing with life’s traumas is extremely important, whether in a creative or a human way, and for all of us who worked on this film, these two aspects intertwined, strengthening not only our interpersonal relationships but also our connection to the world around us. Lija, the dog in the film, is one of the main characters. Why was it important for you to introduce the motif of an injured dog into this family atmosphere? My mother spent her last summer at Borsko Lake, in a small camper, surrounded by plants and animals. She needed to be in an environment that radiated positive energy in order to fight the illness within her. To be able to talk to the wind, she first had to hear it. In the complexity of human traits and relationships, we often don’t consider the basics—how much we depend on each other. Without care, there is no love. After my mother’s death, the sense of care seemed to vanish overnight, and an immense weight fell on my shoulders. I had long thought about adopting a dog, to save it from the unpredictability of life on the streets, but above all, I was the one who needed help. In a moment of fragility and distraction, I accidentally hit a dog with my car on the road and then tried to help it, but it ran away. Shortly after that, I adopted Lija, and ever since, Lija and I have been inseparable. In 2010, you acted in the film Tilva Roš, which went on to win the Heart of Sarajevo for Best Film. In 2018, you were part of Sarajevo Talents, and in 2019 your short film The Last Picture of Father also received the Heart of Sarajevo. How does it feel to return to the Festival with your debut feature film? The Sarajevo Film Festival was the first film festival I ever attended, and it is an extraordinary honor that the regional premiere of my film takes place where my cinematic journey began fifteen years ago. The Festival nurtures and supports filmmakers from the region, and I feel privileged that our film is part of this year’s edition. What makes it especially meaningful, however, is that my entire family will see the film with an audience for the first time. For them, this will be their first film festival! And who knows, perhaps it will mark the beginning of a new cinematic journey... Stefan Đorđević Wind, Talk to Me After his mother’s passing, director Stefan Đorđević decided, with the help of his entire family, to make the film Wind, Talk to Me, in which the focus will not be on mourning her loss, but on celebrating her life U svom debitantskom dugometražnom filmu rediteljica Kukla istražuje složenosti roda, želje i samospoznaje kroz priču o trima djevojkama i njihovu odnosu s transrodnom ženom po imenu Fantasy Odraz svijeta koji nas okružuje Photo byJohn Pavlish Takmičarski PROGRAM -igrani film Kukla Fantasy Što za vas znači prikazivanje filma Fantasy na Sarajevo Film Festivalu? Velika je to čast i na neki način osjećaj povratka kući. Sarajevo je grad koji za mene ima duboko osobno i profesionalno značenje. Sarajevo Film Festival utjelovljuje vrijednosti koje snažno odjekuju u meni, a ujedno pruža iznimnu platformu za povezivanje filmskih autora iz Balkana sa svijetom. U Fantasyju se vraćate likovima iz vašeg hvaljenog kratkog filma "Sisters", ponovno surađujući s Mijom Skrbinac, Minom Milovanović i Sarah Al Saleh. Što vas je potaknulo da ponovno istražite te likove i kako se vaša suradnja s glumicama razvila ovog puta u usporedbi s radom na "Sisters"? Zapravo, ideja za "Fantasy" javila se prije više godina, ali kako sam tek bila završila Akademiju nisam imala iskustva s dugometražnim filmom niti sustav podrške za njegovu realizaciju. Zato sam odlučila napraviti "Sisters" kao neku vrstu studije slučaja za "Fantasy". Kasnije je "Sisters" postao vlastiti svemir i otvorio put za "Fantasy", kao svojevrsni manifest. Tijekom svih ovih godina razvijali smo likove zajedno s glumicama i njihove priče. Bilo je važno njegovati osjećaj sestrinstva, ali i vizualno istražiti film, radeći mnogo testova, fotografija, razgledavanja lokacija i vizualnih dokumenata. Kako je tekao casting za "Fantasy" i što vas je privuklo Alini Juhart? Namjera je bila, kao i kod svih drugih likova, pronaći osobe koje utjelovljuju lik i žive svoju istinu. Gotovo svi glumci u filmu su početnici, osim Mije Skrbinac koja je profesionalna glumica. Umjesto da tražim nekoga s prethodnim glumačkim iskustvom, željela sam pronaći "Fantasy" koja u stvarnom životu živi svoju vlastitu istinu, jer smatram da je vrlo važno podržati vidljivost na ekranu. Tijekom castinga upoznala sam sjajne žene, a kada sam upoznala Alinu, razgovor se razvio u četverosatni susret. Alina ima i osjetljivost i snagu koju sam tražila. Bila je spremna oživjeti "Fantasy" i u tom procesu biti potpuno ranjiva i iskrena. Obožavam njezinu hrabrost i ljubav prema životu. Izgled "Fantasy", od odjeće do stana i ukupne estetike, djeluje vrlo posebno, osobito u odnosu na Jasnu, Sinu i Mihriju. Kako ste razvijali njezin vizualni identitet i što ste željeli da on prenese publici? Za mene je glavna vizualna metafora prijelaz boja od sive do ljubičaste. Dok je svijet djevojaka siv, uronjen u brutalistički beton, ona unosi boju, mekoću i razigranost u njihov život i pokazuje im da postoji drugačiji način. Film istražuje osobno putovanje kroz rodni identitet, ali istovremeno reflektira i šira društvena očekivanja. Kako ste pronašli ravnotežu između ta dva aspekta priče kako bi se međusobno podržavala? Osjećam da u svom radu često samo držim ogledalo svijetu koji me okružuje. Istraživala sam evoluciju položaja žene na Balkanu, složenoj regiji punoj kontradikcija. Za likove Mihrije, Jasne i Sine crpila sam inspiraciju iz fenomena virđina i reinkarnirala ih u suvremeni prostor koji je i dalje pun tradicije. Bio je to susret prošlosti i sadašnjosti. Mislim da se sve svodi na pitanje tko smo kada nemamo nikoga tko bi nas definirao. Možemo li sebe promatrati vlastitim očima? Je li ženski pogled moguć kao čista perspektiva, neokaljana muškim pogledom… Izgradili ste impresivnu karijeru režirajući glazbene spotove, uključujući one za izvođače poput Senidah i Dina Merlina. Kako je vaše iskustvo s vizualno upečatljivim glazbenim spotovima oblikovalo pristup Fantasyju, kako u pričanju priče, tako i u stilu? Snažan vizualni jezik dolazi mi prirodno, gotovo instinktivno – tako procesiram svijet i pričam priče. Kao što sam već spomenula, središnje vizualno pitanje bilo je kako prikazati transformaciju od oštrih brutalističkih blokova bivše Jugoslavije do nježnog svijeta "Fantasy", igrajući se napetosti između sirovosti i nježnosti. Film balansira na tankoj granici između stvarnosti i fantazije, zbog čega smo se oslonili na magični realizam, koristeći vizualne metafore kao simbole postajanja i transformacije. Također smo posudili elemente iz svijeta glazbenih spotova kako bismo dočarali unutarnje svjetove likova, uvijek s posvećenošću stvaranju filmskog jezika koji zaista služi priči. S obzirom na vaše iskustvo s glazbenim spotovima, je li to utjecalo na način na koji ste razmišljali o glazbi u "Fantasyju"? Glazba je oduvijek igrala veliku ulogu u mom životu, i osobno i profesionalno, pa je njezino uključivanje u film djelovalo potpuno prirodno. Ne promatram glazbu kao pasivan element koji samo boji atmosferu, već je vidim kao aktivnog sudionika. Ponekad je percipiram kao dodatnog lika, ponekad kao prekid stanja svijesti, ponekad kao komentar. Zvuk mi je vrlo važan i osjećam veliku zahvalnost što sam na "Fantasyju" surađivala sa skladateljem Reljom Ćupićem i dizajnerom zvuka Julijem Zornikom. Proces je bio vrlo suradnički i pedantan. Kako ste surađivali s direktorom fotografije Lazarom Bogdanovićem kako biste vizualno izrazili unutarnje svjetove likova? Ovo mu je drugi dugometražni film, pa je donio vrijedno iskustvo. Mi smo tim koji stvarno puno radi zajedno, a on je i moj osobni partner, što znači da je naš svijet isprepleten s kinom. Dijelimo dubok vizualni jezik i međusobno razumijevanje, što nam je omogućilo da stvorimo nešto istinski intimno i uranjajuće. Vidite li sebe u nastavku priča Jasne, Sine i Mihrije u budućnosti, ili osjećate da je sada vrijeme da ti likovi odmore? Fantasy je dugo nastajala, a sada je napokon ovdje, živa i spremna upoznati svijet. Nakon tako izazovnog procesa rekla sam sebi da nikad više neću snimiti film… ali već radim na novom, s novom pričom i univerzumom. Dok Mihrija, Jasna, Sina i Fantasy putuju svijetom s filmom "Fantasy", voljela bih ponovno surađivati s istim glumicama, samo u ulozi potpuno drugih likova. Josip Jurčić What does it mean to you to have "Fantasy" presented at the Sarajevo Film Festival? It’s a great honour and feels like a sort of homecoming. Sarajevo is a city that means a lot to me, both personally and professionally. The Sarajevo Film Festival is a platform whose values resonate deeply with mine, and it offers a beautiful opportunity for filmmakers from the Balkans to connect with the world. In "Fantasy", you return to the characters from your acclaimed short film "Sisters", once again working with Mia Skrbinac, Mina Milovanović, and Sarah Al Saleh. What made you want to revisit these characters, and how did your collaboration with the actresses evolve this time around compared to your work on "Sisters"? Actually, idea for "Fantasy" sparked years ago, but having just come out of academy I had no experience with the long form and no support system to make one. So I decided to make Sisters as some sort of a case study for "Fantasy". It then became its’ own universe and paved the way for "Fantasy", as some sort of a manifesto. All these years we have been developing the characters with the actresses and their story lines. It was important to nurture the sisterhood but also discover the film visually, doing a lot of tests, photos, location scouts and visual documents. How did the casting process for "Fantasy" unfold, and what drew you to Alina Juhart? The intention was, as with all other characters, to find people who embody the character and live their truth. Almost all actors in the film are first-timers, with the exception of Mia Skrbinac who is a professional actress. Rather than looking for someone with prior acting experience I wanted to find "Fantasy" who lives her own truth in real life as I feel it is very important to support visibility on screen. I met amazing women during the casting process and when I met Alina it developed into a 4-hour long talk. Alina has both the sensitivity and the strength that I was looking for. She was willing to bring Fantasy to life and to get really vulnerable and honest in the process. I love her bravery and her love for life. Fantasy’s look, from her outfits to her apartment and overall aesthetic, feels very distinct, especially in relation to Jasna, Sina and Mihrije. How did you develop her visual identity and what did you want it to express to the audience? To me the main visual metaphor is the color shift from grey to lilac. While the girls’ world is grey, steeped in brutalist concrete, she brings color, softness and playfulness into their life and shows them another way is possible. The film explores a personal journey around gender identity while also reflecting on broader societal expectations. How did you find a balance between these two aspects of the story so that they could support each other? I feel like in my work I often just hold a mirror to the world I’m surrounded by. I was researching the evolution of a woman’s position in the Balkans, a complex region full of contradictions. For the characters of Mihrije, Jasna and Sina I drew inspiration from the phenomen of virđinas and reincarnated them into contemporary space which is still full of tradition. It was a meeting of the past and present. I guess it all comes down to the question who we are when we have nobody left to define us. Can we view ourselves with our own eyes? Is the female gaze possible as a pure perspective, uncontaminated by the male gaze… You’ve built an impressive career directing music videos, including those for artists like Senidah and Dino Merlin. How did your experience with visually bold music videos shape the way you approached "Fantasy", both in terms of storytelling and style? Thank you for the recognition! Bold visual language comes naturally to me, quite instinctive, it’s how I process the world and tell stories. As mentioned before, the central visual question was how to portray the transformation from the stark brutalist Yugoslav blocks to Fantasy’s soft world, playing with tension between rawness and gentleness. The film walks a fine line between reality and fantasy, that is why we leaned into magic realism, using visual metaphors as symbols of becoming and transformation. We also borrowed elements from the music video world to portray the inner worlds of the characters, always with devotion to create a cinematic language that truly serves the story. Given your background in music videos, did that influence the way you thought about music in "Fantasy"? Music has always played a big part in my life, both personally and professionally, so its inclusion in the film felt completely organic. I don’t think of music as a passive element that simply colours the atmosphere, I see it as an active participant. Sometimes I hear it as an additional character, sometimes as a disruption of a state of mind, sometimes as a commentary. Sound is very important to me, and I feel really grateful to have worked on fantasy with composed Relja Ćupić and sound designer Julij Zornik. The process was really collaborative and meticulous. How did you work with your DP Lazar Bogdanović to visually express the inner lives of the characters? This is his second feature, so he brought valuable experience with him. We are a team that is working together really a lot, he is also my personal partner, which means our world is intertwined with cinema. We share a deep visual language and mutual understanding, which allowed us to create something truly intimate and immersive. Do you see yourself continuing the stories of Jasna, Sina, and Mihrije in the future, or do you feel ready to let these characters rest for now? Fantasy took a long time to be born, and now she’s finally here, alive and ready to meet the world. After such a challenging process, I told myself I’d never make another film again… but I’m already working on a new one, with a new story and universe. While Mihrije, Jasna, Sina, and Fantasy are out traveling the world with the film "Fantasy", I’d love to work with the same actresses again, just in different characters' shoes. Josip Jurčić Mirror to the Surrounding World Competition PROGRAMME - Feature FILM In her debut feature, director Kukla delves into the complexities of gender, desire, and self-discovery through the story of three young girls and their relationship with a transgender woman named Fantasy Kukla Fantasy Tijekom razgovora „Kafa sa…“ Ekipa filma „Paviljon“, predvođena rediteljem Dinom Mustafićem, istaknula je zadovoljstvo sarajevskom publikom, ali i ogorčenje dehumanizacijom našega društva GRAND Kafa sa… Svaka sličnost i podudarnost s događajima na Balkanu  je namjerna Nakon što je politička crnohumorna akcijska komedija „Paviljon“ večer ranije otvorila 31. Sarajevo Film Festival s projekcijama na čak osam lokacija, ekipa filma došla je na druženje s novinarima i festivalskim gostima u programu „Kafa sa…“ Reditelj Dino Mustafić te glumci Rade Šerbedžija, Branka Petrić, Jasna Diklić, Vladimir Jurc Lali i Zijah Sokolović spremno su došli predstaviti film o pripadnicima treće dobi koji odluče nasilno uzeti ono što bi im trebalo pripadati. „Bilo je vrlo emotivno, ali gledati film s tolikom publikom zapravo je uznemiravajuće. Nestrpljivo očekujete kako će ljudi oko vas reagirati. Zato smo još više dirnuti iskrenom reakcijom publike, jer smo osjetili da nas svim srcem podržavaju“, izjavila je glumica Jasna Diklić, izrazivši zadovoljstvo cijele ekipe predivnim aplauzom kojim su nagrađeni nakon projekcije. „Bilo je fascinantno da se na tolikom platnu pojave naše glave“, odmah se našalio kako njezin kolega Zijah Sokolović, pokazavši smisao za humor, koji se provlači kroz cijeli film, jako odgovara cijeloj ekipi. „Paviljon“ je uzbudljiva i potresna priča o grupi stanara staračkog doma „Paviljon“, koji se nakon godina zlostavljanja i poniženja odlučuju na oružanu pobunu. Scenarij je napisao Viktor Ivančić, prema vlastitoj priči „Paviljon“ iz knjige „Radnici i seljaci“, a koscenarist je Emir Imamović Pirke. Posebnost filma je da je ispred kamere okupio niz glumačkih legendi iz regije, ali i da se iza crnoga humora i akcijskih scena skriva ozbiljan film koji progovara o dostojanstvu, starosti i društvenoj marginalizaciji. „Nije lako igrati crnu komediju, jer se mora pronaći idealna mjera. To su likovi za koje morate povjerovati da su mogući, da ćete vjerovati da postoje takvi ljudi koji će zbog uvjerenja čak i pucati na prolaznike, jer u ovoj situaciji više nitko nije nevin“, izjavio je Dino Mustafić, nadodavši da mu je jako žao što na Festival nije mogao doći Viktor Ivančić, scenarist i autor kratke priče, inače rođeni Sarajlija. „Kada čitate Viktorove tekstove, ne možete ne imati stav. Vi ste odmah upleteni u priču. Htjeli smo da film ima dramaturških iznenađenja, pa smo ga napravili još radikalnijim nego što je to bilo u kratkoj priči. Željeli smo da provocira“, kazao je Mustafić, dodavši da je svaka sličnost i podudarnost s događajima na Balkanu – namjerna. Radikalizam penzionera, koji su spremni ići do kraja za svoje ideale, u filmu iznenadila je i publiku, ali po redateljevim riječima i prisutne političare na projekciji. „Naš gradonačelnik, koji je inače divan čovjek, odmah mi je rekao: 'Shvatio sam poruku'“, s osmijehom je rekao reditelj. No, šala je ipak samo zamaskirala prilično britku kritiku koju film donosi današnjem društvu. Od zanemarivanja starijih građana do posvemašnje dehumanizacije ljudskih odnosa, „Paviljon“, iako govori o generaciji na odlasku, pokazuje mračnu budućnost za one koji dolaze. „Ovo je ispravan film jer govori o posrnulom vremenu i pomanjkanju humanizma. Danas se olako mirimo s nekim stvarima. Ne možemo gledati kadrove iz Gaze, pa samo ugasiti televizor. Gledati te uplašene oči male djece“, kazao je Rade Šerbedžija te dodao: „Negdje mora ovaj svijet ponovno krenuti da se spasi. Mi danas živimo bez autoriteta. Gdje su filozofi kojima vjerujemo? Gdje su lideri koji vode društvo? Nema ih. Živimo u jednom strašnom liberalnom trgovinskom kapitalizmu. Mi smo svi robovi ovog sistema i života. Mi ćemo, gospodo moja, biti nesretniji od robota koji će preuzeti ovaj svijet.“ Iskusna ekipa filma nije stala samo na upozorenjima, već je publici dala i savjet kako promijeniti trenutnu situaciju. Recept je jednostavan – treba se pobuniti. „Mi starci smo u filmu zloupotrebljeni kako bi svi starci, dakle potlačeni, koji gledaju film dobili poriv da počnu nešto mijenjati na bolje“, istaknuo je na kraju Zijah Sokolović. Paviljon Paviljon GRAND Kafa sa… Pavillion Every Resemblance to Events in the Balkans Is Intentional After the darkly comic political action film Pavilion opened the 31st Sarajevo Film Festival the night before with screenings at eight venues, the film’s team met with journalists and festival guests in the “Coffee with…” program. Director Dino Mustafić, together with actors Rade Šerbedžija, Branka Petrić, Jasna Diklić, Vladimir Jurc Lali, and Zijah Sokolović, came ready to present a story about senior citizens who decide to violently claim what should rightfully belong to them. “It was very emotional, but watching the film with such a large audience is actually unsettling. You can’t wait to see how people around you will react. That’s why we were all the more moved by the audience’s genuine response, because we felt their wholehearted support,” said actress Jasna Diklić, expressing the cast and crew’s delight at the wonderful applause they received after the screening. “It was fascinating to see our heads appear on such a huge screen,” joked her colleague Zijah Sokolović, showing a sense of humor that runs through the entire film and resonates strongly with the whole team. Pavilion is a gripping and moving story about a group of residents in a retirement home who, after years of abuse and humiliation, decide to stage an armed uprising. The screenplay was written by Viktor Ivančić, based on his short story Pavilion from the book Workers and Peasants, with Emir Imamović Pirke as co-writer. A distinctive feature of the film is that it brings together a number of acting legends from the region in front of the camera, while beneath its dark humor and action scenes lies a serious story that addresses dignity, aging, and social marginalization. “Playing a dark comedy isn’t easy, because you have to find the perfect balance. These are characters you need to believe are possible, that you could truly encounter people willing to even shoot passersby for their convictions, since in this situation no one is innocent,” said Dino Mustafić, adding that he deeply regretted that Viktor Ivančić, the screenwriter and author of the short story, and a native of Sarajevo, could not attend the festival. “When you read Viktor’s texts, you can’t remain indifferent. You’re immediately drawn into the story. We wanted the film to have dramatic surprises, so we made it even more radical than the short story. We wanted it to provoke,” said Mustafić, adding that any similarity or parallel with events in the Balkans is intentional. The radicalism of the retirees, willing to go to any lengths for their ideals, surprised the audience in the film, and, according to the director, even the politicians present at the screening. “Our mayor, who is otherwise a wonderful man, immediately told me, ‘I got the message,’” the director said with a smile. Yet, the humor merely masks the film’s sharp critique of today’s society. From the neglect of older citizens to the complete dehumanization of human relationships, Pavilion, while telling the story of a fading generation, points to a dark future for those to come. “This is a righteous film because it speaks about a fallen era and the lack of humanism. Today, we easily accept certain things. We can’t just watch footage from Gaza and then turn off the TV. Seeing the terrified eyes of small children,” said Rade Šerbedžija, adding: “Somewhere, this world must start over to save itself. Today, we live without authority. Where are the philosophers we can trust? Where are the leaders guiding society? They don’t exist. We live in a terrifying liberal commercial capitalism. We are all slaves to this system and life. We, my friends, will be unhappier than the robots that will take over this world.” The experienced film team didn’t stop at warnings; they also offered the audience advice on how to change the current situation. The recipe is simple – one must rebel. “We old folks are portrayed in the film in a way that gives all viewers the urge to start making positive changes,” emphasized Zijah Sokolović at the end. After the darkly comic political action film Pavilion opened the 31st Sarajevo Film Festival the night before with screenings at six venues, the film’s team met with journalists and festival guests in the “Coffee with…” program. Director Dino Mustafić, together with actors Rade Šerbedžija, Branka Petrić, Jasna Diklić, Vladimir Jurc Lali, and Zijah Sokolović, came ready to present a story about senior citizens who decide to violently claim what should rightfully belong to them. “It was very emotional, but watching the film with such a large audience is actually unsettling. You can’t wait to see how people around you will react. That’s why we were all the more moved by the audience’s genuine response, because we felt their wholehearted support,” said actress Jasna Diklić, expressing the cast and crew’s delight at the wonderful applause they received after the screening. “It was fascinating to see our heads appear on such a huge screen,” joked her colleague Zijah Sokolović, showing a sense of humor that runs through the entire film and resonates strongly with the whole team. Pavilion is a gripping and moving story about a group of residents in a retirement home who, after years of abuse and humiliation, decide to stage an armed uprising. The screenplay was written by Viktor Ivančić, based on his short story Pavilion from the book Workers and Peasants, with Emir Imamović Pirke as co-writer. A distinctive feature of the film is that it brings together a number of acting legends from the region in front of the camera, while beneath its dark humor and action scenes lies a serious story that addresses dignity, aging, and social marginalization. “Playing a dark comedy isn’t easy, because you have to find the perfect balance. These are characters you need to believe are possible, that you could truly encounter people willing to even shoot passersby for their convictions, since in this situation no one is innocent,” said Dino Mustafić, adding that he deeply regretted that Viktor Ivančić, the screenwriter and author of the short story, and a native of Sarajevo, could not attend the festival. “When you read Viktor’s texts, you can’t remain indifferent. You’re immediately drawn into the story. We wanted the film to have dramatic surprises, so we made it even more radical than the short story. We wanted it to provoke,” said Mustafić, adding that any similarity or parallel with events in the Balkans is intentional. The radicalism of the retirees, willing to go to any lengths for their ideals, surprised the audience in the film, and, according to the director, even the politicians present at the screening. “Our mayor, who is otherwise a wonderful man, immediately told me, ‘I got the message,’” the director said with a smile. Yet, the humor merely masks the film’s sharp critique of today’s society. From the neglect of older citizens to the complete dehumanization of human relationships, Pavilion, while telling the story of a fading generation, points to a dark future for those to come. “This is a righteous film because it speaks about a fallen era and the lack of humanism. Today, we easily accept certain things. We can’t just watch footage from Gaza and then turn off the TV. Seeing the terrified eyes of small children,” said Rade Šerbedžija, adding: “Somewhere, this world must start over to save itself. Today, we live without authority. Where are the philosophers we can trust? Where are the leaders guiding society? They don’t exist. We live in a terrifying liberal commercial capitalism. We are all slaves to this system and life. We, my friends, will be unhappier than the robots that will take over this world.” The experienced film team didn’t stop at warnings; they also offered the audience advice on how to change the current situation. The recipe is simple – one must rebel. “We old folks are portrayed in the film in a way that gives all viewers the urge to start making positive changes,” emphasized Zijah Sokolović at the end. GRAND Coffee with… During the “Coffee with…” talk, the team behind Pavilion, led by director Dino Mustafić, expressed their appreciation for the Sarajevo audience, but also their dismay at the dehumanization of our society GRAND Coffee with… Pavillion Za film o grupi Haustor, jednoj od najznačajnijih na ovim prostorima, redatelj Arsen Oremović kaže da nije biografija, priča o albumu ili o okupljanju banda nakon 40 godina, već putovanje kroz magiju svakodnevnice. Arsen Oremović TREĆI SVIJET Iznesite stolicu na verandu Kako ste dobili kreativni impuls da se pozabavite bendom uz koji ste odrastali, a oduvijek je njegovao posebnost? Kao klinac od četrnaest godina gledao sam Haustor na dva za mene vrlo važna koncerta: prvi je bio u zagrebačkom SKUC-u, drugi u Domu sportova na Muzičkom biennaleu, kada su Haustor i Šarlo Akrobata bili predgrupa Gang of Four. Danas možemo reći da su ti koncerti, posebno ovaj drugi, bili među najvažnijim trenucima glazbe bivše države, ali tada ja to nisam osjećao jer sam mislio da je to posve normalno i da tako treba biti. I da nikada neće biti ništa manje od toga. To je bila velika greška. Kad sam čuo stihove „Tko je pojeo Sljeme sinoć i popio Savu“ (pjesma „Tko je to“), „Proljeće kad stigne, 23. ožujak–travanj, stolicu iznesem na verandu“ (pjesma „’60–’65“) i slične – to su bili trenuci koji su mi, kao nekome tko polaže pažnju na tekstove, naprosto odstranili veći dio ex-jugoslavenskog rocka, posebno onoga što se dotad smatralo veličinama, jer sam smatrao da pjevaju niočemu, da tekstovi postoje da bi se imalo što za pjevati uz glazbu. Taj poseban način poetskog promatranja stvari Haustora postao je fokus rada na filmu „Treći svijet“, kada smo se prije točno pet godina našli u prostorijama Interfilma – Darko Rundek, Srđan Sacher i ja – s idejom da porazgovaramo o mogućem filmu. Taj razgovor je snimljen, kasnije sam ga puno puta preslušavao i shvatio sam da su obojica upravo likovi kakvi vam trebaju za film. Već smo znali tada da su dosta suprotstavljeni karakteri, koji teško dolaze u situaciju da surađuju jedan s drugim, ali i da su spremni vrlo otvoreno pričati o tome jer su naprosto sadržajni ljudi, a ne ljudi-projekti kao veliki dio naših glazbenih zvijezda koje primarno zanima PR. Odmah smo se složili da nikako ne želimo napraviti klasični biografski film o bendu u kojem će pet uvijek istih glazbenih kritičara iz regije govoriti o njihovu značaju. Složili smo se da je pravi put – s obzirom na njihovu doista živopisnu estetiku – raditi film o stvarima koje su oblikovale tu dvojicu posebnih, ali karakterno različitih likova i umjetnika. Ispostavilo se da je to bila sklonost magiji svakodnevice, prostorima „između“, teatralnosti i dubokoj ukorijenjenosti u lokalni zagrebački štih. Ta spona omogućila je da njih dvojica, u vremenu od nekoliko singl ploča i dva albuma, kako kaže Sacher, „odluče preskakati plot zajedno“. Ta je postavka za mene imala jak vizualni motiv, ali i sadržajni pečat. Naravno, za publiku koja voli gledati u životu više od onoga što se vidi na prvi pogled. Remake Trećeg svijeta pružio vam je savršen trenutak da propratite ne samo kreativni proces preodijevanja stare pjesme u suvremeno ruho nego i okupljanje ljudi koji su nekad blisko surađivali, da vidite, osjetite i snimite dinamiku njihovog odnosa kakav je sada. Da li ste već radili na filmu kada se Haustor, u nekadašnjem sastavu (Rundek, Sacher, Prica, Gul i Zexa), okupio da „predubira“ dobru staru pjesmu? U trenutku prvih dogovora nisam mogao ni sanjati da će bend poželjeti ponovno ući u studio. Najveći mi je problem bio kako raditi dokumentarni film o bendu koji više ne postoji, jer u tom slučaju nemate nikakav kreativni proces za pratiti. I onda su se dvije godine nakon toga dogodila dva krucijalna trenutka koja su omogućila jasnu točku gledanja filma. Povodom pripreme reizdanja albuma „Treći svijet“, u arhivu Croatije Records pronađena je dub-verzija naslovne pjesme, koja je svojedobno bila skinuta s albuma i gotovo 40 godina ostala neobjavljena. Istodobno sam u arhivu HRT-a pronašao ne samo nikada prikazanu snimku Haustora iz splitskog studija 1984., nego i zasebne video-kanale svakog člana posebno. Tu je pjesma „Treći svijet“ postala fokalna točka priče i metafora cijelog onog svijeta koji je oblikovao njih dvojicu i estetiku Haustora. Sigurno ste u rad na filmu ušli s barem okvirnom idejom kako biste htjeli da izgleda. Koliko se vaša početna zamisao razlikuje od onoga što ste na kraju dobili – i koliko su sami akteri utjecali da se toj ideji približite ili udaljite? Njihova odluka da za potrebe filma ponovno uđu u studio i dorade originalni dub, koji im se sada činio nedorađenim, bila je najveća i najbolja moguća promjena – jer je opservacija vrlo važan dio dokumentarizma. Taj razvoj – od nepostojećeg benda do studijskog okupljanja – nije promijenio samo sadržaj filma, nego i njegov ton i vizualnu dinamiku. Prolazile su godine rada, primarno zbog dinamike njihove suradnje na toj i drugim pjesmama, koja je bila specifično spora. Ali meni je to sve omogućilo da dublje prodrem u njihove osobne procese i načine funkcioniranja, a boravak u tom trećem svijetu magije svakodnevice donio mi je i neke osobne promjene u pogledu na svakodnevicu. Na primjer? Dok mi je bend, naravno među mnogima, u ranoj fazi života pomogao oblikovati interese i estetiku, sad – u ovoj kasnijoj – kada čovjek traži nove motive, ukazao mi je na važnost mašte i čarolije. Ne kao bijega od svakodnevice, ni kao utočišta, nego kao goriva. Prije nekoliko godina nisam se mogao ni zamisliti da pišem knjigu i film za djecu, a to je upravo ono što ovih dana radim. Haustor je u Sarajevu uvijek imao odanu publiku tako da će sigurno zanimanje za vaš film biti veliko. Sigurno neće svi zainteresirani uspjeti zgrabiti ulaznice za svjetsku premijeru kojoj se posebno veselimo. Kada ga možemo očekivati u bosanskohercegovačkim kinima? Nadam se da će publika biti zainteresirana, jer koliko vidim, Haustor i danas jako dobro kotira među novim generacijama – ne samo u Sarajevu nego u cijeloj regiji. Budući da ovo nije klasičan biografski film, jer se informaciju o svima i svačemu danas uz dva tri klika nalaze po internetu, vjerujem da će gledatelji prepoznati i dublji sloj: ono što je oblikovalo njihovu estetiku i način rada. Ali i poruku filma – koja je mene osobno duboko dotaknula. U vremenu koje nam sve manje nudi nadu, ovaj film potiče na okretanje sebi i vlastitim doživljajima. Umjesto preuzimanja unaprijed serviranih, često nazadnih kolektivnih identiteta, govori o važnosti razvijanja osobnog pogleda na svijet – znatiželje, oslonca na vlastite senzibilitete i oči djeteta. Sarajevo mi je u svemu tome posebno važno – jer je upravo nagrada na ovom Festivalu za film „U braku sa Švicarcem“ 2014. označila moj prijelaz iz kritičarsko-novinarske u autorsku fazu. Sada se festivalu vraćam s određenom filmografijom – i možda najosobnijim, autorski i produkcijski najzahtjevnijim filmom. Po vremenu trajanja rada, tehničkom zahvatu i količini materijala, „Treći svijet“ daleko nadilazi sve moje dosadašnje projekte. Nadam se da će takav biti i odjek. Što se distribucije tiče, do kraja ljeta film ide po festivalima, a od kraja rujna i početka listopada krećemo s prikazivanjima u državama bivše Jugoslavije. Nadam se da ćemo još ovih dana, dok smo u Sarajevu, definirati i dogovor o distribuciji po Bosni i Hercegovini. Marinela Domančić TAKMIČARSKI PROGRAM- DOKUMENTARNI FILM Takmičarski PROGRAM - dokumentarni FILM • Arsen Oremović • TREĆI SVIJET Takmičarski PROGRAM - dokumentarni FILM • Arsen Oremović • TREĆI SVIJET Speaking about his film on Haustor, one of the most influential bands in the region, director Arsen Oremović says it is neither a biography, nor a story about an album, nor about the band reuniting after 40 years, but rather a journey through the magic of everyday life. How did you get the creative impulse to explore a band you grew up with, one that has always nurtured its uniqueness? As a fourteen-year-old kid, I saw Haustor at two very important concerts for me: the first was in Zagreb's SKUC, the second at the Dom Sportova at the Music Biennale, when Haustor and Šarlo akrobatas were the opening acts for the Gang of Four. Today those concerts, especially the second one, were among the most important moments of the music of the former state, but at the time I didn't feel it because I thought it was completely normal and that's how it should be. And that it will never be anything less than that. What a mistake. When I heard the lyrics "Who ate Sljeme last night and drank Sava" (song Who is that), "When spring arrives, March 23-April, I bring a chair out to the porch" (song '60-'65) and similar - those were the moments that, as someone who pays attention to the lyrics, simply removed most of the ex-Yugoslav rock, especially what was considered great until then, because I considered that they sing for nothing, that the lyrics exist so that there is something to sing along with the music. This special way of poetic observation of Haustor's affairs became the focus of the work on the film Treći svijet, when exactly five years ago we met at the premises of Interfilm - Darko Rundek, Srđan Sacher and I - with the idea of discussing a possible film. That conversation was recorded, later I listened to it many times and I realized that both of them are exactly the characters you need for a film. We already knew at that time that they are quite opposing characters, who find it difficult to get into a situation where they cooperate with each other, but also that they are ready to talk about it very openly because they are simply people of substance, and not people-projects like a large part of our music stars who are primarily interested in PR. We immediately agreed that we absolutely did not want to make a classic biographical film about a band in which five of the same music critics from the region would talk about their importance. We agreed that the right way - given their truly vivid aesthetics - was to make a film about the things that shaped these two special, but distinctively different characters and artists. It turned out that it was a preference for the magic of the everyday, spaces "in between", theatricality and deep rootedness in the local Zagreb flair. That connection made it possible for the two, in the time of several single records and two albums, as Sacher says, "to decide to jump the fence together". For me, that setting had a strong visual motive, but also a content. Of course, for an audience that likes to see more in life than meets the eye. The new recording of song Treći svijet (Third World) gave you the perfect moment to follow not only the creative process of re-dressing the old song in modern clothes, but also the gathering of people who once worked closely together - to see, feel and record the dynamics of their relationship as it is now. Have you already worked on a film when Haustor, in its former lineup (Rundek, Sacher, Prica, Gul and Zexa), got together to "re-dub" a good old song? At the time of the first arrangements, I could not even dream that the band would want to enter the studio again. The biggest problem for me was how to make a documentary about a band that doesn't exist anymore, because then you don't have any creative process to follow. And then, two years after that, two crucial moments happened that provided a clear point of view for the film. On the occasion of the preparation of the reissue of the album Treći svijet, a dub version of the title track was found in the archives of Croatia Records, which was removed from the album and remained unreleased for almost 40 years. At the same time, I found in the HRT archive not only a never-shown recording of Haustor from the Split studio in 1984, but also separate video channels of each member separately. That's where the song Treći svijet became the focal point of the story and a metaphor for the whole world that shaped the two of them and the aesthetics of Haustor. You have surely started working on the film with, at least, a rough idea of how you would like it to look like. How different is your original idea from what you got in the end and how much did the protagonists themselves influence you to get closer or further away from your basic idea? Their decision to re-enter the studio for the purpose of the film and rework the original dub, which now seemed unfinished to them, was the biggest and best possible change - because observation is a very important part of documentary. That development – from a non-existent band to a studio reunion – not only changed the content of the film, but also its tone and visual dynamics. Years of work passed, primarily due to the dynamics of their collaboration on that and other songs, which was particularly slow. But all this allowed me to penetrate deeper into their personal processes and ways of functioning, and being in that third world of everyday magic brought me some personal changes in my view of everyday life. Like what? While the band, of course among many, helped shape my interests and aesthetics in the early stages of my life, now - in this later stage - when a person is looking for new motives, it showed me the importance of imagination and magic. Not as an escape from everyday life, not as a refuge, but as fuel. A few years ago, I couldn't even imagine writing a book and a movie for children, and that's exactly what I'm doing these days. Haustor has always had a loyal audience in Sarajevo, so your film will definitely provoke a lot of interest. It is certain that the entire interested audience will not be able to get tickets for the world premiere, which we are especially looking forward to. When can we expect it in Bosnian cinemas? I hope that the audience will be interested, because as far as I can see, Haustor still ranks very well among the new generations - not only in Sarajevo but in the entire region. Since this is not a classic biographical film, because information about everyone and everything can be found on the Internet with few clicks today, I believe that viewers will also recognize a deeper layer: what shaped their aesthetics and way of working. But also the message of the film - which deeply touched me personally. In a time that offers us less and less hope, this film encourages us to turn to ourselves and our own experiences. Instead of assuming pre-served, often backward collective identities, he talks about the importance of developing a personal view of the world - curiosity, relying on one's own sensibilities and the eyes of a child. Sarajevo is particularly important to me in all of this - because it was the award at this festival for the film Married to the Swiss in 2014 that marked my transition from critic-journalist to author phase. Now I am returning to the festival with a certain filmography - and perhaps the most personal, authorial and production-demanding film. In terms of the duration of the work, the technical scope and the amount of material, Third World far surpasses all my previous projects. I hope the response will be like that. As far as distribution is concerned, until the end of the summer, the film will go to festivals, and from the end of September and the beginning of October, we will start screenings in the countries of the former Yugoslavia. I hope that in these days, while we are in Sarajevo, we will also define the agreement on distribution in Bosnia and Herzegovina. Marinela Domančić Arsen Oremović THIRD WORLD Competition PROGRAMME - Documentary FILM Bring a Chair to the Porch Competition PROGRAMME - Documentary FILM Arsen Oremović THIRD WORLD Competition PROGRAMME - Documentary FILM Arsen Oremović THIRD WORLD Imam Hasanov Sanjari: Ljudi svjetlosti TAKMIČARSKI PROGRAM- DOKUMENTARNI FILM Azerbajdžanski reditelj Imam Hasanov u Sarajevo donosi priču u čijem je centru Mamed Dadašev, nogometni trener u ruralnom azerbejdžanskom mjestašcu, koji sanja da okupi žensku nogometnu ekipu, što je gotovo nemoguće u svijetu gdje su djevojke tu da se što prije udaju, a ne da treniraju po cijeli dan Svemir sluša dok sanjamo Kako ste otkrili svojeg glavnog junaka Mameda? Nakon što je moj prvi film „Sveta krava“ premijerno prikazan u natjecanju Prvo predstavljanje na IDFA-i, trebao sam se veseliti. Umjesto toga, potonuo sam u tihu, duboku depresiju. Stalno sam se pitao: „I šta sad“? Podsvjesno sam očekivao da će mi se život promijeniti - ali nije. Praznina se samo produbila. Shvatio sam da ne tražim priznanje, tražio sam promjenu. Ta me potraga dovela do kratkog dokumentarca koji sam snimio 2016. pod nazivom „Nada“, o izbjeglicama iz Karabaha. Bio je to mali film, ali za mene je to bila iskra prekretnica. Nisam mogao stati. Nešto u meni se probudilo. Počeo sam sanjati, ne samo o filmovima, već o stvaranju prostora u kojem bi dokumentarni film mogao cvjetati u Azerbajdžanu. Taj san postao je DokuBaku IDFF 2017. Ali ni to nije bilo dovoljno. Nastavio sam kopati, tražeći nešto više, nešto što bi moglo okupiti ljude različitih generacija i porijekla. Zamislio sam prostor, dijelom kino, dijelom kazalište, gdje bi se priče mogle dijeliti, ideje razmjenjivati i duše dodirivati. Taj san postao je Exit – Chıxış, koji je otvorio svoja vrata 2018. godine. S njim je došao i Into the Wild, glazbeni festival rođen iz istog impulsa za povezivanjem i inspiracijom. Te sam godine snimio i kratki igrani film, „Fake“ - meditaciju o iluziji i istini. Ipak, moj je duh bio nemiran. Tražio sam nešto što ne samo da bi moglo nahraniti moju dušu, već i kolektivnu dušu, priču koja bi nas mogla podsjetiti što znači živjeti sa svrhom, sa svjetlošću. Mlada volonterka Aytan Najaf mi je 2019. godine, tijekom festivala DokuBaku, ispričala o čovjeku u Šekiju koji je pokušavao osnovati prvu žensku nogometnu ekipu u regiji. Zvao se Mamed Dadašev. Izvještavala je o njegovim naporima kao novinarka, a nešto u njezinom glasu reklo mi je da je ovo više od obične priče. Nakon festivala, otputovao sam u Šeki sa snimateljem Oktayem Namazovom - koji je, slučajno, iz Šekija. Nije trebalo dugo da pronađem Mameda. Naravno, bio je na stadionu. Sjeli smo za stol za čaj. Govorio je o svojoj nogometnoj prošlosti i o djevojkama - o njihovim snovima, strahovima, otporu njihovih obitelji i zajednica. Dok je govorio, plakao je. Nije samo trenirao nogomet. Pokušavao je stvoriti budućnost. Siguran prostor za djevojke da zamisle živote izvan ograničenja koja su im nametnuta. Pitao sam ga: „Misliš li stvarno da je ovo moguće?“ Odgovorio je: „Barem pokušavam. Čak mi i moja supruga Svetlana pomaže, inače ne bih mogao sam.“ Iskreno, nisam mislio da će uspjeti. Sjećam se da sam pomislio: On je sanjar. Ali onda sam pomislio - neka sanja. I ja ću sanjati s njim. Sanjajmo velike snove. Taj trenutak označio je početak našeg dugog zajedničkog putovanja - mene, direktora fotografije, Mameda i Svetlane. Ono što je počelo kao slučajan susret postalo je veza. Mamedova priča nije se odvijala samo kao priča o nogometu, već i o otporu - protiv tradicije, protiv šutnje, protiv naslijeđene težine društvenih uloga. Postala je priča o ustrajnosti, dostojanstvu, tihoj revoluciji. I prije svega, o nadi. Tako su nastali „Sanjari: Ljudi svjetlosti“, film ne samo o Mamedu i djevojkama, već o svima koji se usude vjerovati u bolji svijet, čak i kada su izgledi protiv njih. Početak filma sugerira da su se dvije kreature koje su „pale s neba“ više zainteresirale za ženski nogomet od lokalnih mještana. Koristili ste alegoriju ili se i trener Mamed i nogometašice bukvalno osjećaju kao vanzemaljci? Početak filma „Sanjari: Ljudi svjetlosti“ nije bio zamišljen samo kao vizualni slijed, već kao metafizička uvertira - slojevita u simbolici, odjeku i namjeri. Figure koje se spuštaju s neba više su od likova; one su kozmički arhetipovi. Ako pažljivo promatrate, izlaze iz nečega što nalikuje ogromnoj kamenoj čeljusti - slici koja istovremeno evocira rođenje i smrt. Ova dualnost je u srži filma: duhovni preporod, ponovno viđenje svijeta kroz neiskvarene oči. Iako je trenerova bitka za tim u prvom planu, kroz drugi plan odvija se prava mala ženska revolucija. Da li ste, dok se ste radili na filmu, osjetili promjene u smislu većeg otpora djevojčica prema načinu na koji ih tretiraju roditelji, prvenstveno očevi? Film je započeo kao priča o nogometnoj momčadi i upornosti trenera - ali se razvio u nešto mnogo dublje, postao je film o buđenju - o tihoj revoluciji koja počinje u duši. Riječ je o povratku drevnoj, gotovo mitskoj istini - bljesku sjećanja na Raj. Kamera je, u mnogočemu, postala posuda - ne samo da bilježi promjenu, već da ju kanalizira. I dok Mamedova bitka čini kičmu filma, djevojke su njegovo kucajuće srce. Njihov otpor nije bio glasan - kretao se u šapatu. U izborima koje su donijele kod kuće, u svojoj odluci da ostanu, da nastave igrati, da nastave sanjati. Svjedočio sam nečemu osjetljavajućem. Počele su se ponašati kao da budućnost pripada njima - i, na neki način, pripada im. Čak se i naslov razvijao s nama. Počelo je kao „Sanjar“, zatim „Sanjari“, pa „Sanjari su vjernici“. Na trenutak je čak bio „Sanjari: Apokalipto jučer“, odražavajući osobni slom koji sam doživljavao - rušenje starih struktura u sebi. Ali konačno je film pronašao svoje pravo ime – „Sanjari: Ljudi svjetlosti“, naslov koji sadrži njih, Mameda, Svetlanu i moju vlastitu transformaciju. Ovaj me film promijenio. Prisilio me da se suočim s naslijeđenim uvjerenjima - o spolu, moći, identitetu. Kroz putovanja djevojaka, jasnije sam vidio svoja. To je, za mene, alkemija filma: počinje osvjetljavanjem drugih, a završava otkrivanjem sebe. Marinela Domančić Takmičarski PROGRAM -dokumentarni FILM • Imam Hasanov • Sanjari: Ljudi svjetlosti As a main sponsor and official insurance of the Sarajevo Film Festival, UNIQA once again contributes to a safer, richer, and unforgettable festival experience. Through its partnership with the Festival, UNIQA reaffirms its commitment to culture, art, and social responsibility — values that connect and inspire us. This year, the audience has the opportunity to enjoy a special experience in the magical setting of the UNIQA Open Air Cinema Stari Grad. As one of the leading insurance companies in Southeast Europe, UNIQA bases its operations on the values of trust, security, and community support. Its innovative products and services, dedicated to both individuals and businesses, are the result of continuous business process improvements, investments in new technologies, and the delivery of premium client service. UNIQA kao glavni sponzor i zvanično osiguranje Sarajevo Film Festivala, i ove godine doprinosi sigurnijem, bogatijem i nezaboravnom festivalskom iskustvu. Partnerstvom sa Festivalom, UNIQA potvrđuje svoju posvećenost kulturi, umjetnosti i društvenoj odgovornosti – vrijednostima koje nas povezuju i inspirišu. Ove godine, publika ima priliku uživati u posebnom doživljaju – u čarobnom ambijentu UNIQA Ljetnog kina Stari Grad. Kao jedan od vodećih osiguravatelja u jugoistočnoj Evropi, UNIQA svoje poslovanje temelji na vrijednostima povjerenja, sigurnosti i podrške zajednici. Inovativni proizvodi i usluge, posvećeni kako fizičkim, tako i pravnim licima, rezultat su stalnog unapređenja poslovnih procesa, ulaganja u nove tehnologije i pružanju vrhunskog servisa klijentima. UNIQA - Creating cinematic moments together UNIQA – Stvaramo filmske trenutke zajedno How did you get in contact with Mamed? After my first film Holy Cow premiered in the First Appearance competition at IDFA, I should have felt joy. But instead, I plunged into a quiet, deep depression. I kept asking myself: And now what? Subconsciously, I had expected my life to change - but it didn’t. The emptiness only deepened. I realized I wasn’t looking for recognition; I was searching for transformation. That search led me to a short documentary I made in 2016 called Hope, about refugees from Karabakh. It was a small film, but for me, it was a spark, a turning point. I couldn’t stop. Something inside me had awakened. I began to dream, not only of films, but of creating a space where documentary cinema could flourish in Azerbaijan. That dream became DokuBaku IDFF in 2017. But even that wasn’t enough. I kept digging, searching for something more, something that could bring people together across generations and backgrounds. I imagined a space, part cinema, part theatre, where stories could be shared, ideas exchanged, and souls touched. That dream became Exit – Chıxış, which opened its doors in 2018. With it came Into the Wild, a music festival born from the same impulse to connect and inspire. I also made a short fiction film that year, Fake—a meditation on illusion and truth. Still, my spirit was restless. I was searching for something that could not only feed my soul, but nourish the collective soul—a story that could remind us what it means to live with purpose, with light. In 2019, during the DokuBaku festival, a young volunteer named Aytan Najaf told me about a man in Sheki who was trying to start the first girls’ football team in the region. His name was Mamed Dadashov. She had reported on his efforts as a journalist, and something in her voice told me this was more than just a story. After the festival, I travelled to Sheki with the cinematographer, Oktay Namazov—who, coincidentally, is from Sheki himself. It didn’t take long to find Mamed. Naturally, he was at the stadium. We sat down at a tea table. He spoke about his past as a footballer, and then about the girls—about their dreams, their fears, the resistance from their families and communities. As he spoke, he cried. He wasn’t just coaching football. He was trying to create a future. A safe space for girls to imagine lives beyond the limitations imposed on them. I asked him, “Do you really think this is possible?” He replied, “At least we’re trying. Even my wife, Svetlana, helps me—otherwise I couldn’t do it alone.” To be honest, I didn’t think it would work. I remember thinking: He’s a dreamer. But then I caught myself. Let him dream, I thought. And I’ll dream with him. Let’s dream big. That moment marked the beginning of our long journey together - me, DOP, Mamed, and Svetlana. What began as a chance encounter became a bond. Mamed’s story unfolded not just as one about football, but about resistance against tradition, against silence, against the inherited weight of societal roles. It became a story of perseverance, of dignity, of quiet revolution. And above all, of hope. That’s how Dreamers: People of Light was born, a film not only about Mamed and the girls, but about anyone who dares to believe in a better world, even when the odds are against them. The beginning of the film suggests that two creatures who “fell from the sky” have become more interested in women's football than the local villagers. Did you use an allegory or do both coach Mamed and the female players literally feel like aliens? The opening of Dreamers: People of Light was conceived not merely as a visual sequence, but as a metaphysical overture - layered in symbolism, echo, and intention. The figures descending from the sky are more than characters; they are cosmic archetypes. If you observe closely, they emerge from what resembles a vast stone jaw - an image simultaneously evoking birth and death. This duality is at the heart of the film: a spiritual rebirth, a re-seeing of the world through uncorrupted eyes Although the coach's battle for the team is in the foreground, a real, small women's revolution takes place through the second plan. While you were working on the film, did you feel any changes in terms of girls' resistance to the way they are treated by their parents, primarily their fathers? The film began as a story about a football team and a coach’s perseverance, but it evolved into something far deeper. Dreamers: People of Light became a film about awakening - about the silent revolution that begins in the soul. It’s about the return to an ancient, almost mythic truth, a flicker of Paradise remembered. The camera, in many ways, became a vessel, not just recording change, but channeling it. And while Mamed's battle forms the spine of the film, the girls are its beating heart. Their resistance wasn’t loud, it moved in whispers. In the choices they made at home, in their decision to stay, to keep playing, to keep dreaming, I witnessed something luminous. They began to carry themselves as if the future belonged to them, and, in a way, it does. Even the title evolved with us. It began as Dreamer, then Dreamers, then Dreamers Are Believers. For a moment, it was even Dreamers: Apocalypto Yesterday, reflecting the personal collapse I was experiencing, the breaking of old structures within myself. But finally, the film found its true name Dreamers: People of Light, a title that contains them, Mamed, Svetlana, and my own transformation. This film changed me. It forced me to confront inherited beliefs about gender, power, identity. Through the girls’ journeys, I came to see my own more clearly. That, to me, is the alchemy of cinema: it begins by illuminating others, and ends by revealing yourself. Marinela Domančić Competition PROGRAMME  Documentary FILM The Universe Listens  When You Dream Imam Hasanov Dreamers:  People of  the light Azerbaijani director Imam Hasanov brings to Sarajevo the story of Mamed Dadashev, a football coach in a rural Azerbaijani village who dreams of forming a women’s football team—something almost impossible in a world where girls are expected to marry as soon as possible rather than spend their days training. Takmičarski program - dokumentarni film BOSANSKI VITEZ /  Competition Programme - Documentary Film BOSNIAN KNIGHT Glumac Stellan Skarsgård i Mirsad Purivatra, predsjednik Obala Art Centra/  Actor Stellan Skarsgård and Mirsad Purivatra, president of Obala Art Centar Otvranje Talents Sarajevo sa Stellan Skarsgård / Talents Sarajevo Opening with Stellan Skarsgård Doručak by Atlantic Group / Breakfast hosted by Atlantic Group Više fotografija možete pronaći OVDJE. More festival photos you can find HERE. Festivalski život / Festival Life Suočavanje s prošlošću sa Dinom Abazovićem / Dealing with the past lecture with Dino Abazović Atmosfera na Ljetnom kinu Coca-Cola / Atmosphere on Coca-Coka Open Air Cinema Docu Rough Cut Boutique: Intro Session Zahvaljujući Cineplexxovim Barco projektorima, kojima su opremljene lokacije 31. Sarajevo Film Festivala, publika će i ove godine uživati u vrhunskim projekcijama. Od 15. do 22. augusta, uz najkvalitetniju opremu, bit će prikazano više od 250 filmova. Na Festivalu će biti korišteni i Barco projektori serije 4, koji predstavljaju posljednju generaciju laserskih projektora 4K rezolucije, koje karakterišu duboki kontrast i izvrsna jačina svjetlosti. Laserski projektori po svim standardima ispunjavaju uvjete energetske efikasnosti, u skladu posvećenosti Sarajevo Film Festivala Net Zero misiji – festivala s nultom stopom onečišćenja. Multipleks Cineplexx Sarajevo je lokacija 31. Sarajevo Film Festivala s najvećim brojem kino sala na jednom mjestu, gdje festivalska publika ima priliku gledati filmove iz različitih festivalskih programa. “Ovo partnerstvo naglašava važnost okupljanja svih entuzijastičnih ljubitelja filma, bez obzira na to da li je lokacija komercijalno orijentisana kino dvorana, klasično art kino ili otvoreno ljetno kino. Raznolikost lokacija u Sarajevu je jedinstvena, zadovoljstvo je biti dio toga – s našim kinom i našim projektorima!”, rekao je Christof Papousek, finansijski direktor, suvlasnik grupacije Cineplexx i ponosni dobitnik Počasnog Srca Sarajeva 2024. godine. Cineplexx je austrijska kino grupacija s više od sedam decenija iskustva u kino industriji, s jakim lokalnim timovima i stručnjacima zaposlenima u glavnim gradovima Jugoistočne Europe. Cineplexx mrežu danas čini oko 70 kina u Austriji, Hrvatskoj, Srbiji, Crnoj Gori, Sloveniji, Bosni i Hercegovini, Sjevernoj Makedoniji, Albaniji, Kosovu*, Grčkoj, Rumuniji i Italiji, sa više od 500 kino dvorana. Multipleks Cineplexx kino u Sarajevu otvoreno je 2021. godine sa 8 kino sala i 1.100 sjedišta uz vrhunsku tehnologiju za potpuno uživanje. * Ovaj naziv, bez prejudiciranja statusa Kosova, u skladu je sa Rezolucijom 1244 i mišljenjem MSP-a o deklaraciji o nezavisnosti Kosova. Uspješno partnerstvo Sarajevo Film Festivala i kino grupacije Cineplexx, dugo više od decenije, nastavlja se i ove godine. Najsavremeniji Cineplexxovi Barco projektori omogućit će besprijekorne projekcije na  31. Sarajevo Film Festivalu The successful partnership between the Sarajevo Film Festival and the Cineplexx cinema group, spanning over a decade, continues this year as well. Cineplexx’s state-of-the-art Barco projectors deliver impeccable screenings at the 31st Sarajevo Film Festival With Cineplexx’s Barco projectors, which equip the venues of the 31st Sarajevo Film Festival, audiences will once again enjoy top-quality screenings. From August 15 to 22, more than 250 films will be shown using the highest-quality equipment. Among the Barco projectors used at the festival are those from Series 4, the latest generation of 4K laser projectors, known for their deep contrast and exceptional brightness. These laser projectors meet all energy efficiency standards, aligning with the Sarajevo Film Festival’s commitment to its Net Zero mission – a festival with zero pollution. Festival audiences can watch films from various programme sections at Cineplexx Sarajevo multiplex, the festival venue with the highest number of cinema halls under one roof. “This partnership underlines the importance of bringing all enthusiastic moviegoers together, no matter if a location is commercially oriented, a classical arthouse theatre or an open-air venue. The variety of locations in Sarajevo is unique, we are glad to be a part of it – with our cinema and our projectors!”, states Christof Papousek, CFO, co-owner of Cineplexx Group, and proud recipient of the Heart of Sarajevo 2024. Cineplexx is an Austrian cinema group with over seven decades of experience in the film industry, supported by strong local teams and experts based in the capital cities of Southeast Europe. Today, the Cineplexx network includes around 70 cinemas across Austria, Croatia, Serbia, Montenegro, Slovenia, Bosnia and Herzegovina, North Macedonia, Albania, Kosovo*, Greece, Romania, and Italy, with more than 500 cinema auditoriums. The Cineplexx multiplex in Sarajevo opened in 2021, offering 8 screens and 1,100 seats, equipped with cutting-edge technology for a fully immersive cinema experience. * This label does not prejudge the status of Kosovo and is in accordance with Resolution 1244 and the opinion of the ICJ on Kosovo's declaration of independence Novi filmski pogledi u složenom društvenom kontekstu Selekcija Takmičarskog programa – studentski film, koju je oblikovala selektorica Asja Krsmanović, ukazuje na stabilnost mladog filmskog stvaralaštva uprkos izazovima savremenog društva TAKMIČARSKI PROGRAM-  STUDENTSKI FILM Kako biste opisali ovogodišnju selekciju Takmičarskog programa – studentski film? Svaka godina donosi nova otkrića i proces selekcije je najuzbudljiviji dio pripreme Sarajevo Film Festivala. Ovogodišnja donosi jedanaest filmova, dosta različitih po tonu i stilu, ali kroz koje se prožimaju veoma slični motivi, tako da se može pričati o generalnoj tematskoj preokupaciji mladih, kao i o njihovom specifičnom pogledu na svijet. Teško je o tome govoriti kada su u pitanju studenti koji još nemaju potpuno izdefinisan autorski rukopis, ali možemo govoriti o utjecajima i referencama, o vladanju filmskim jezikom, stilu… i s tog aspekta, ovo je jedna selekcija koja obećava nove zanimljive regionalne autore i autorice koje treba pratiti. Jesu li studentski protesti i jačanje društvenih pokreta u regiji reflektovani u pristupima i temama filmova u ovogodišnjoj selekciji? Naravno da se stvarnost odražava na filmsku produkciju i da budem iskrena, više me brinulo da li će uopšte do nas doći filmovi sa nekih filmskih škola, ali ispostavilo se da unatoč okolnostima, studenti i dalje rade i snimaju, a kvalitet tog rada ne trpi produkcijske uslove. S druge strane, vidjet ćemo sljedeće godine kako će se ta situacija odraziti na buduće projekte. U filmovima u ovogodišnjoj selekciji se reflektuju i druge aktuelne društvene situacije, poput rata u Ukrajini, odnosa prema migrantima u Austriji i suočavanja s prošlošću kada su u pitanju ratovi devedesetih na našim prostorima. Kakvu ulogu Sarajevo Film Festival ima u profiliranju novih generacija autorica i autora iz regije? Sarajevo Film Festival posvećuje veliku pažnju novim generacijama kroz niz naših aktivnosti, od Talents Sarajevo programa, do Studentskog programa i studentskih delegacija iz regionalnih filmskih škola. Sve ove aktivnosti doprinose tome da se studenti upoznaju sa Festivalom, uče kroz različite segmente našeg programa, upoznaju se, razmjenjuju iskustva, ostvaruju prvi kontakt s publikom, ali i u nama pronalaze nekoga ko im može pomoći na njihovom kreativnom putu. To potvrđuje činjenica da gotovo svake godine imamo bar jedan projekat u razvoju na CineLinku koji potpisuje redatelj koji je prethodno imao film u Studentskom programu. Koliko estetika društvenih mreža utječe na današnju produkciju studentskih filmova? Začuđujuće malo. Postoje neki odjeci u manjem broju filmova koje gledamo, ali većinom studenti teže drugačijem istraživanju filmskog jezika. Veliki utjecaj na njihov kreativni razvoj ima škola u kojoj se obrazuju, i njeni kadrovski i produkcijski kapaciteti. Kako se razvijala studentska produkcija tijekom posljednjih nekoliko godina? Produkcija je manje-više stabilna i svake godine pogledamo oko 200 – 250 filmova. S obzirom na to u kako turbulentnom vremenu živimo i kakve društvene promjene se dešavaju, ova konstanta nam govori da se stanje u našoj regiji i ne mijenja tako rapidno. Kolika je Sarajevo Film Festival prilika upravo za mlade talente? Iznimna i oni to vide. Mi im ne nudimo samo prikazivanje filma, već priliku da ih pratimo na njihovom karijernom putu i pomognemo da ostvare svoje prve korake. Svake godine u aplikacijama za razne programe vidimo imena koja već s radošću prepoznajemo kao naše Talent alumne ili bivše učesnike Studentskog programa. To ujedno govori i o našem pažljivo uspostavljenom sistemu podrške, ali i o njihovom prepoznavanju te podrške kao kvalitetne i neophodne u razvoju karijera. Lejla Karić Kako biste opisali ovogodišnju selekciju Takmičarskog programa – studentski film? Svaka godina donosi nova otkrića i proces selekcije je najuzbudljiviji dio pripreme Sarajevo Film Festivala. Ovogodišnja donosi jedanaest filmova, dosta različitih po tonu i stilu, ali kroz koje se prožimaju veoma slični motivi, tako da se može pričati o generalnoj tematskoj preokupaciji mladih, kao i o njihovom specifičnom pogledu na svijet. Teško je o tome govoriti kada su u pitanju studenti koji još nemaju potpuno izdefinisan autorski rukopis, ali možemo govoriti o utjecajima i referencama, o vladanju filmskim jezikom, stilu… i s tog aspekta, ovo je jedna selekcija koja obećava nove zanimljive regionalne autore i autorice koje treba pratiti. Jesu li studentski protesti i jačanje društvenih pokreta u regiji reflektovani u pristupima i temama filmova u ovogodišnjoj selekciji? Naravno da se stvarnost odražava na filmsku produkciju i da budem iskrena, više me brinulo da li će uopšte do nas doći filmovi sa nekih filmskih škola, ali ispostavilo se da unatoč okolnostima, studenti i dalje rade i snimaju, a kvalitet tog rada ne trpi produkcijske uslove. S druge strane, vidjet ćemo sljedeće godine kako će se ta situacija odraziti na buduće projekte. U filmovima u ovogodišnjoj selekciji se reflektuju i druge aktuelne društvene situacije, poput rata u Ukrajini, odnosa prema migrantima u Austriji i suočavanja s prošlošću kada su u pitanju ratovi devedesetih na našim prostorima. Kakvu ulogu Sarajevo Film Festival ima u profiliranju novih generacija autorica i autora iz regije? Sarajevo Film Festival posvećuje veliku pažnju novim generacijama kroz niz naših aktivnosti, od Talents Sarajevo programa, do Studentskog programa i studentskih delegacija iz regionalnih filmskih škola. Sve ove aktivnosti doprinose tome da se studenti upoznaju sa Festivalom, uče kroz različite segmente našeg programa, upoznaju se, razmjenjuju iskustva, ostvaruju prvi kontakt s publikom, ali i u nama pronalaze nekoga ko im može pomoći na njihovom kreativnom putu. To potvrđuje činjenica da gotovo svake godine imamo bar jedan projekat u razvoju na CineLinku koji potpisuje redatelj koji je prethodno imao film u Studentskom programu. Koliko estetika društvenih mreža utječe na današnju produkciju studentskih filmova? Začuđujuće malo. Postoje neki odjeci u manjem broju filmova koje gledamo, ali većinom studenti teže drugačijem istraživanju filmskog jezika. Veliki utjecaj na njihov kreativni razvoj ima škola u kojoj se obrazuju, i njeni kadrovski i produkcijski kapaciteti. Kako se razvijala studentska produkcija tijekom posljednjih nekoliko godina? Produkcija je manje-više stabilna i svake godine pogledamo oko 200 – 250 filmova. S obzirom na to u kako turbulentnom vremenu živimo i kakve društvene promjene se dešavaju, ova konstanta nam govori da se stanje u našoj regiji i ne mijenja tako rapidno. Kolika je Sarajevo Film Festival prilika upravo za mlade talente? Iznimna i oni to vide. Mi im ne nudimo samo prikazivanje filma, već priliku da ih pratimo na njihovom karijernom putu i pomognemo da ostvare svoje prve korake. Svake godine u aplikacijama za razne programe vidimo imena koja već s radošću prepoznajemo kao naše Talent alumne ili bivše učesnike Studentskog programa. To ujedno govori i o našem pažljivo uspostavljenom sistemu podrške, ali i o njihovom prepoznavanju te podrške kao kvalitetne i neophodne u razvoju karijera. Asja Krsmanović selektorica Poluotok / Peninsula How would you describe this year's selection of the Competition Programme – Student Film? Each year brings new discoveries and the selection process is the most exciting part of the preparation of Sarajevo Film Festival. This year's selection brings eleven films, quite different in tone and style, but through which very similar motifs permeate, so that one can talk about the general thematic preoccupation of young people, as well as their specific view of the world. Have you noticed new author approaches? It is difficult to speak about that when it comes to students who have not yet fully developed their authorial voice, but we can talk about influences and references, about command of film language, style… and from that perspective, this is a selection that promises new and interesting regional filmmakers, both male and female, worth keeping an eye on. Were the student protests and the strengthening of social movements in the region reflected in the approaches and themes of the films in this year's selection? The reality is certainly reflected in film production and to be honest, I was more worried about whether films from some film schools would come to us at all, but it turned out that despite the circumstances, students still work and shoot films, and the quality of that work does not suffer from the production conditions. On the other hand, we will see next year how this situation will affect future projects. The films in this year's selection also reflect other current social situations, such as the war in Ukraine, the treatment of migrants in Austria and dealing with the past when it comes to the wars of the 1990s in our region. What role does the Sarajevo Film Festival play in profiling new generations of authors from the region? The Sarajevo Film Festival devotes great attention to new generations through a series of our activities, from the Talents Sarajevo Programme, to the Student Programme and student delegations from regional film schools. All these activities contribute to students getting acquainted with the Festival, learning through different segments of our programme, getting to know each other, exchanging experiences, making first contact with the audience, but also finding someone in us who can help them on their creative path. This is confirmed by the fact that almost every year we have at least one project in development on CineLink signed by a director who previously had a film in the Student Programme. How much does the aesthetics of social networks affect the production of student films today? Surprisingly little. There are some echoes in the smaller number of films we watch, but mostly students strive for a different exploration of the cinematic language. The school in which they are educated and its personnel and production capacities have a great influence on their creative development. How has student production developed over the last few years? Production is more or less stable and we watch about 200 – 250 films every year. Given how turbulent times are and what social changes are happening, this constant tells us that the situation in our region is not changing so rapidly. How big of an opportunity is the Sarajevo Film Festival for young talents? A tremendous one, and they recognize that. We offer them not only a screening of the film, but a chance to follow along on their career path and help them take their first steps. Every year, we see names in applications for various programmes that we are already happy to recognize as our Talent alumni or former students of the Student Programme. This also speaks of our carefully established support system, but also of their recognition as quality and necessary in career development. Lejla Karić How would you describe this year's selection of the Competition Programme – Student Film? Each year brings new discoveries and the selection process is the most exciting part of the preparation of Sarajevo Film Festival. This year's selection brings eleven films, quite different in tone and style, but through which very similar motifs permeate, so that one can talk about the general thematic preoccupation of young people, as well as their specific view of the world. Have you noticed new author approaches? It is difficult to speak about that when it comes to students who have not yet fully developed their authorial voice, but we can talk about influences and references, about command of film language, style… and from that perspective, this is a selection that promises new and interesting regional filmmakers, both male and female, worth keeping an eye on. Were the student protests and the strengthening of social movements in the region reflected in the approaches and themes of the films in this year's selection? The reality is certainly reflected in film production and to be honest, I was more worried about whether films from some film schools would come to us at all, but it turned out that despite the circumstances, students still work and shoot films, and the quality of that work does not suffer from the production conditions. On the other hand, we will see next year how this situation will affect future projects. The films in this year's selection also reflect other current social situations, such as the war in Ukraine, the treatment of migrants in Austria and dealing with the past when it comes to the wars of the 1990s in our region. What role does the Sarajevo Film Festival play in profiling new generations of authors from the region? The Sarajevo Film Festival devotes great attention to new generations through a series of our activities, from the Talents Sarajevo Programme, to the Student Programme and student delegations from regional film schools. All these activities contribute to students getting acquainted with the Festival, learning through different segments of our programme, getting to know each other, exchanging experiences, making first contact with the audience, but also finding someone in us who can help them on their creative path. This is confirmed by the fact that almost every year we have at least one project in development on CineLink signed by a director who previously had a film in the Student Programme. How much does the aesthetics of social networks affect the production of student films today? Surprisingly little. There are some echoes in the smaller number of films we watch, but mostly students strive for a different exploration of the cinematic language. The school in which they are educated and its personnel and production capacities have a great influence on their creative development. How has student production developed over the last few years? Production is more or less stable and we watch about 200 – 250 films every year. Given how turbulent times are and what social changes are happening, this constant tells us that the situation in our region is not changing so rapidly. How big of an opportunity is the Sarajevo Film Festival for young talents? A tremendous one, and they recognize that. We offer them not only a screening of the film, but a chance to follow along on their career path and help them take their first steps. Every year, we see names in applications for various programmes that we are already happy to recognize as our Talent alumni or former students of the Student Programme. This also speaks of our carefully established support system, but also of their recognition as quality and necessary in career development. COMPETITION PROGRAMme-  STUDENT FILM The selection of the Competition Programme – Student Film, currated by the programmer Asja Krsmanović, points to the stability of young filmmaking despite the challenges of modern society Asja Krsmanović Programmer New Cinematic Perspectives in a Complex Social Context Leđno plivanje / Backstroke BUY TICKET OČINSKO ODSUSTVO / PATERNAL LEAVE Germany, Italy, 2025, 113 min. Director: Alissa Jung Cast: Juli Grabenhenrich, Luca Marinelli, Arturo Gabbriellini, Joy Falletti Cardillo, Gaia Rinaldi BUY TICKET PJESNIK / A POET Colombia, Germany, Sweden, 2025, 120 min. Director: Simón Mesa Soto Cast: Ubeimar Rios, Rebeca Andrade, Guillermo Cardona, Allison Correa, Margarita Soto, Humberto Restrepo SUMMER SCREEN Sama i u potrazi za odgovorima, petnaestogodišnja Leo putuje iz Njemačke na sjever Italije da upozna svog biološkog oca. Paola pronalazi na zimski opustjeloj rivijeri, u baru na plaži zatvorenom na kraju sezone. Njihov prvi susret je napet, pun pitanja, čežnje i neprovarene ljutnje. Mogu li njih dvoje postići međusobno prihvatanje, ljubav i iskrenost? Alone and in search of answers, fifteen-year-old Leo travels from Germany to the coast of north Italy to meet her biological father. She finds Paolo in a boarded-up beach bar on the wintry shore. Their first encounter is tense—fraught with questions, longing, and unresolved anger. Can they work towards finding acceptance, love, and honesty? Opsesija Oscara Restrepoa poezijom nije mu donijela slavu. Kako stari i postaje sve nestabilniji, prigrljava kliše o poeti iz sjene. Susret sa Yurlady, tinejdžerkom skromnih korijena, kao i pomoć koju joj pruža kako bi razvila svoj talent, unosi nešto svjetlosti u njegov život. Ali uvlačenje Yurlady u svijet pjesnika možda nije rješenje. Oscar Restrepo’s obsession with poetry has brought him no glory. Aging and erratic, he has succumbed to the cliché of the poet in the shadows. Meeting Yurlady, a teenage girl from humble roots, and helping her cultivate her talent, brings some light to his days. But dragging her into the world of poets may not be the way. TEENARENA Na programu danas... / On today's schedule... IZGUBLJENI DREAM TEAM /  THE LOST DREAM TEAM  Croatia, Serbia, Italy, Slovenia, 2025, 82 min. BUY TICKET BUY TICKET Sergio, okolišni inžinjer iz Portugala, putuje u Gvineju Bisau kako bi pripremio izvještaj o utjecaju na okoliš za projekt izgradnje ceste. Dok se muči s vrućinom i osjećajem izolovanosti, upoznaje Diaru i Guija, lokalce koji čeznu da pronađu vlastiti put u životu. Kako njihov nedefinisani odnos postaje sve napetiji, a Sergio počinje shvatati kapitalistički i postkolonijalni kontekst svoje misije, njih troje moraju se suočiti s načinom na koji ih njihov identitet oblikuje u globalizovanom svijetu. Sergio, a Portuguese environmental engineer, travels to Guinea-Bissau to conduct an impact report for a road-building project. As he grapples with heat and isolation, he meets Diara and Gui—two locals yearning to find their own way. As tensions arise within their ambiguous relationship, and as Sergio comes to understand the capitalist and post-colonial dynamics in play around his mission, each of the three must confront the ways their identities shape them in a globalised world. KINOSCOPE ODMARAM SE SAMO U OLUJI /  I ONLY REST IN THE STORM Portugal, France, Brazil, Romania, 2025, 211 min. Director: Pedro Pinho Cast: Cleo Diára, Jonathan Guilherme, Sérgio Coragem OPEN AIR PREMIERE IZGUBLJENI DREAM TEAM film je o prijateljstvu, rivalstvu i ljubavi prema igri u vremenu političkih previranja i nadolazećeg rata. Priča je ispričana iz perspektive trenera i igrača jedne od najposebnijih momčadi u historiji sporta – jugoslavenske košarkaške reprezentacije koja je 1991. godine na Evropskom prvenstvu u Rimu osvojila zlato i stala na postolje, posmatrajući dizanje zastave svoje zemlje koja je prestala postojati prije tri dana. THE LOST DREAM TEAM tells the story of the last Yugoslav basketball team and their quest for a gold medal at the 1991 European Championships amid political turmoil and impending war. It serves as a psychological study of the players, the trials of their camaraderie, and the extraordinary experience of belonging to a unique team in sports history—the only team to win gold, stand on the podium, and watch their flag rise for the glory of a country that had ceased to exist three days earlier.